Anime Environment Masterclass - Blender & Substance Painter

1. Introduction to Course: Hello, verone and welcome to the Anime Environment Masterclass, where you will learn to create a fully stylized anime inspired room environment from start to finish using both Blender and Substance Painter. With over 7 hours of content, this is a complete masterclass in creating stylized anime environments, covering every step from concept to final polished renders. And by the end of this course, you'll have the skills to create environments just like the one you see in this trailer and even build your own scenes in a similar style. We'll walk through the entire workflow step by step, starting with blocking out the room and adding the doors. Then we'll start building up all the major assets, the cupboards, chair, fan, table, Boombox, the Tami mats, et cetera. After that, we'll start adding all the smaller props like the blankets, utensils, calendars, cardboard boxes, the details that bring the room to life and make it feel lived in. After we finish up with the modeling, we'll unwrap all our models and export them into Substance Painter, where you will learn to texture the entire room piece by piece. Throughout the process, we'll create a variety of stylized material sets designed specifically to match the anime athetic. After Texturing, we'll bring everything back into Blender and apply all the exported materials cleanly and efficiently. Then we will enter the stylization phase, adding more small props, refining the lighting, adjusting color space, adding outlines and special effects to achieve that signature to D anime look. We will also create multiple lighting variations, including daytime, evening, and night versions of the scene to create different moods and atmospheres. We will finish the course by adding final touches in blenders compositor and Photoshop polish. Whether you are a bigna or an experienced Blender artist, this course will guide you through creating a detailed anime inspired three D environment completely from scratch. So I hope to see you there in the course. Thank you. 2. Blocking Out the Room: Hello and welcome guys to this new course where we will be creating an animne from scratch using blender and substance painter. So if you will open up the course files now, you will find all of the required files to complete the course. Just open up the reference images and textures folder. Hey, you will find all of the required textures that we will be using to create our assets, as well as the reference images that we will be using to create our scene. So this is like a real anime that our scene is based off on. So these are all, like frames from the anime itself. I think the anime is called Jos the Tiger and the Fish. I haven't watched it, but I really like this frame. So yeah, we will try and recreate it in Blender. Obviously, we will give it our own touch a little bit. So yeah, let's just start now. We can first go into Google, and I would suggest you guys to download a free program called PureRef, which will help us with kind of managing our reference images and look at them while we are working in Blender itself. Otherwise, you have to, like, kind of, switch between the reference images when you are in a normal image viewer like this. But if you download something like PureRef, so you can just search for PureRef over here if you don't have it already. Search PureRef. It's a free program. You can hit Download and just select this, select your OS, and you can donate them, donate to them if you want to or you can just put in zero and hit download from over here. I already have the program, so I'm not going to download it again. You can download and quickly just install it and then just open up PureRef from over here. Open it up and you will get something like this, like this black screen. You can hit right click on your mouse, so just hold your right click and you can move it around. And the great part about this is that it will stay on top of your window at all times. Like you can work in blender while your ref is over here. So if you open up the images now, let's just select our reference images of the scene itself, not the rest of them because we will be needing them in blender only, not pure ref and just drag and drop them like this. This way you will get all of the reference images like this. And I think that's really helpful because you can view all of them at the same time, as well as you don't have to, like, constantly switch between blender and like your image. If you just have a single screen, you can place it somewhere over here in the corner or wherever, and you can work around with blender. You can also decrease the size of this by adjusting the window. So yeah it's really helpful. There are a couple of shortcuts which you can use for PureRef, you can just hit Double click and it will focus on that one single image. Another thing is you can right click and select the different modes. So obviously, right now on top is selected. If you disable it, then, basically, it will go away. Whenever you select any other window, it will minimize itself. So just make sure to enable always on top. You can also save your scenes, which we will do. So just go to save and save and you can save it in art. To folder only over here, let's just save it as anime scene. And it save. So that next time whenever you open up PUR Rf, you can just quickly load the scene, you don't have to add in the images again and again. So yeah, basically PUR Rf is like this program to create your mood board. Right now, we don't even have that many images, but sometimes in projects, we have a lot of different references that we have to manage and work around with. So yeah, for those situations, it's like, really helpful. Also, if you want to minimize it when always on top is enabled, you can just click on here in the task bar. And just click on it over here and then it will minimize itself. All right. So with that out of the way, we can finally start working in blender. So now I will just move over the reference images to my second monitor so that they don't take up the space in the video whenever I'm doing stuff in blender. Obviously, we will keep on referencing them to create all of the assets and keep the similar structure of the scene. But yeah, I'll just move it over to my second monitor. All right. So now we can finally start in blender. I've also enabled a software through which you can see all of the shortcuts that I'm performing so that you can easily follow within blender. So now let's just start. We can first start by creating the blockout of the room. So as you can see, it is a pretty simple room. With something like this, we can start by adding in the room, then adding in more simple shapes like the door, these wooden planks, and then we can slowly start to add the assets one by one to populate the room. All right. I'll move it back over here, press A to select everything and delete everything, press Shift A, and then we can simply add in a queue. What I want to do is I will press Tab and press three for phase select, and we can select this phase right over here, press X, and delete this phase. So the reason we are deleting this phase is because it will be just easier to move in and out of the room, and we can place it something like this. Like this will be the short. And it's similar to this, we can just make it a little bit wider like this, and we can place our camera right over here and add all of the assets like this. So this way we can work in from this angle, and we will just keep this phase open so that we can easily move in and out of the room and place all of the assets. All right. Let's continue. So the next thing that I will do is, you can see right now the origin point is set at the center of the room. So we just want to move it at the center of the bottom face. So to do that, you can press tab, press three for phase select, select this bottom face, press Shift plus S, and then select cursor two selected. This will bring the cursor point right over here in the center of the selected phase. Then you can just press Tab to come out of the edit mode, go to object set origin and origin to three D cursor. This will set the three Dcursor at the bottom of our cube, and this way we can press G then Z. G is for moving Z to lock it in the Z axis and then hold Control to snap and we can easily snap it at the world origin. So this usually helps when you have to, let's say, adjust the height of the room. So I can select the room, press S then Z to scale it on the z axis, and you can see it only moves upwards like this. So it is really helpful when you are creating rooms or buildings in buildings, it is very helpful to move the cursor point at the bottom of the like at the bottom part of the face of any of your cube. Because let's say this cube has the origin point in the center. If I press S and Z and scale it up, you can see it scales like this, which can cause some issues. It is scaling in both directions, but this one only scales in the upward direction only because the origin point is at the bottom. So let's remove this, select it back again. I will also go over here and enable shadow and cavity. Basically, this will help a little bit with the visibility, as you can see the edges are a lot more prominent now. We can see them a little bit better. So yeah, let's keep that enabled and press in to bring up this side bar so that we can see the dimensions of our room. So now I have, kind of already decided on the dimensions when I was like, preparing the course. So I will be selecting that. You can select mine or you can adjust them accordingly. Whatever you want to. That's totally up to your preference. For the z axis, I will set this to something like 2.25 meters because Japanese houses like this one, are kind of, like, traditionally low in height. So that's why we are going with something like this. And for the Y, maybe we can extend it up to something like 4 meters, and I will set it to 4 meters on the X axis as well. And yeah, I feel like those are pretty good dimensions for this kind of room. And obviously, we can change it at a later on stage as well. But yeah, I feel pretty happy with it. Now let's just press Shift A, and we can start to add more of the simpler shapes in our environment that is basically the cube and these wooden bars that we have over here in the room because they're pretty simple to make. They're basically just cube shapes only. So let's start with that. I'll press Shift A, and let's add in another cube. Let's move it up right over here. And for its dimensions, what we can do is the height can be down to something like 1.75, and this is the Y. Y is finite two. X is obviously going to be really thin. So press then X to scale it down on the X axis, make it something like this. Just move it back now over here. And maybe we can add more detail to the room at a later on stage. For now, let's just keep it like this only. And yeah, I think it looks pretty good to me. What we can do next is you can select the cube and press Shift plus S then cursor to select it. What this will do is this will bring the cursor point right over here at the door. So this helps us to add objects, press Shift A and add in a new cube, and it will be exactly added over here at the center of the cube. This basically helps us to add the objects around where our scene is present because if you hold Shift and use your right click, you can move the three D cursor around. So let's say I place it over here. Now if I press Shift A and add in a cube, it will be added right over here. So yeah, I think it is best to keep our three D cursor somewhere close to the scene. Select the door prehifS then cursor to select it. Phife and add in another cube, and these can be our bars. So let's scale them down a lot. Let's move them close to the door. You can also press the dot key on your number pad to focus on the objects like this. It's pretty helpful when you have a lot of assets in your scene. You can just select on anything and press the dot key. It will basically focus on that particular object. Yeah, pretty good. Let's select this once again. And let's see how much thickness we want to give this. So for the thickness of the bar, which will be mainly visible. So basically this part, you can set it to something like 0.145, and the Z would be basically according to the height of the room itself. So we can adjust that accordingly. And the X axis is basically the thickness like this, which does not really matter that much. We have to just give it a little bit of thickness like this. And yeah, I think we will be fine. Let's adjust the bar now, give it a bit more height to fit the room properly, make it close to the door like this, and we are basically good to go. We can maybe bring it out a little bit more supress G to move it around an X to lock on the X axis and bring it out like this. What you can do is you can also add in something like a mirror modifier so that you don't have to duplicate it again and again. Select your door, make sure to go to object set origin and origin to geometry so that the origin point is perfectly at its location. Now you can select the bar, go into Modifier section and just click on Add Modifier and search for the mirror modifier. What this will do is it will help you to mirror objects, but it basically works according to the origin point. So right now, the origin point is right over here. That's why the mirror modifier is not really working. So now what we basically want to do is we want to mirror this bar on both sides of the doors. So one is over here, we want to mirror it over here on the left side. As you can see on the like reference image as well. Obviously, you can just select it and duplicate it as well, but I think it is best to use a mirror modifier. So to make the mirror modifier work, again, you can either change the origin point of this bar or you can just use the mirror object option from over here. Just click on this dropper and select the door. Make sure to remove it from X axis, and I think on the y. And yeah, now you can see it is working perfectly. So the wooden bars are being mirrored according to the door object now, which you can see if you select the door object and move it around you will notice that the bars move along with it. All right. So if you check the reference image now, we have to add a couple more bars, one over the top right over here. And I think these bars go along on the left and the right hand side of the wall as well. Yeah, as you can see, in the other reference images, we have the bars going all along like this. So yeah, let's do that. You can select this bar, press Shift plus D. To duplicate it, press Y, we just place it right over here. And for this one, we don't need a mirror modifier because as you can see, it is just on the top right over here like this. So yeah, we can just remove the mirror modifier now, press R to rotate it around and then press R then X to lock on the X axis. You can type in 90 in your number pad to give it the perfect 90 degree rotation. And let's just place it right at the top of our door. As you can see in the reference image as well, it is placed just along the door like this. All right. Select the bar, and we can set the thickness for this exactly as the room. So set this to 4 meters. And I think that should be pretty good. Yeah, that feels right to me. Let's move it down. And you can notice that there is some Z fighting going on. Basically, the faces are overlapping. So just select this bar, press D, then X and move it a little bit behind so that we don't get that face overlapping anymore and we get something like this. Let's move them down. And yeah, I think that is pretty good. Pretty similar to the reference as well. Select this bar once again, press Shift plus D, press R, then Z to rotate it on the Z axis by 90 degrees. And let's move it over here. There's G then X and move it. Just along this edge. Make sure to fit it perfectly with the length of the room like this. You can just overlap these 2 bars. I think that works fine. You can now select it, add a modifier and search for the mirror modifier once again. And this time, we want to mirror it according to the room itself. So you can select the room. Sorry, you can select this object and go over here to the mirror object and select the dropper and in here, just click on the room like this. Select the Y axis. And yeah, again, you can see it mirrors perfectly along the room itself now. Alright, so we have created our wooden bar structure. Let's just hit save on a file first because we have worked quite a bit. So just make sure to go in the blend files folder, and I will save it right over here. I'll save it as anime room. Let's just hit save. And I think this much is pretty good for this first lecture. What we will do in the next one is we will detail that door, obviously, and then we need to, I think duplicate it right over here as well, as you can see the door is present on this section, and then we will create a little bit of the designer doors. And yeah, we will keep on adding more details and assets to our environment. So, thank you guys for watching. Just make sure to hit Save and save your files, and I will see you in the next one. 3. Adding the Doors: Hello, and welcome, guys. So let's just continue working on our environment. And in this lecture, we can start by giving our door a bit more detail, and then we can further add more wooden bars or a couple of doors over here as well. So yeah, if you will see in the reference image, we just have a very simple door. We just need to, like, insert this a little bit and then extrude it inwards. And yeah, we will have something like this. All right. So to start off, you can just select your door and click on the slash key on your number pad like this. You select it and click on here, so you will go into a local mode. So this is a mode where you can kind of isolate any of the object. Like, you can select any object, then slash on your number pad, and basically isolate that particular object so that you can work on it without any of the other objects interfering. And if you click on Slash once again, you will come back to your normal perspective mode. So yeah, let's just select our door, pre slash. Then you can press tab to go into the edit mode, press Control R. Control R is to add edge loops, and we want to add this edge loop exactly in the center. So just hit right click and it will be placed exactly at the center like this. So next, you can press three to go into the Phase select mode so that we can just select these two phases, press I to insert them like this. But before that, I just want to quickly go over one simple concept. So press Tab to come out of this cube, and we can press Shift A and add in another cube. And place it right over here. You don't have to follow me for this. I'm just trying to demonstrate it. Basically, I'm showing you the concept of applying scale, which is really, really important in blender. So I have gone over this a lot of time in my other courses as well. I will just quickly go over that. So basically applying scale means is that whenever you change the scale of your object in any way, let's say I scale this up like this, I have to press Control A and then apply the scale from over here. I just want to show what difference it would make if you don't do it. So let's say I select this cube, press S the Y to scale it up on the Y axis by four times. So I'll type in four like this. Let's move it a little bit to the side, and let's select this one as well, press S the Y and type in four to scale it up by four times. Now, basically both of them are same objects. They have been scaled up four times each of them. Now I will select one of them and press Control A and apply the scale. So this one has the scale applied while this one does not. So if you press tab now, and let's say I try to do any of the blender operations like I press A to select everything and then press Control plus B to bevel the edges out. So make sure you're pressing two for ESelect and then press Control B and bevel them out like this. Let's bevel it out this much. Press tab and see how it looks. You will notice that the edges appear to be really stretched out over here like this because we have scaled it up in this direction, that's why the edges are really stretched out over here like this. But let's say I select this one, prestab A to select everything, and then press Control B to bevel it out. You will notice that this one has the bevel completely uniform, like we have equal distances on all edges because we have applied the scale for this particular object, and this one does not have the scale applied. That's why it is appearing like this. Let's undo this now, and let's try to do some other operation. So press three now for phase select and select this phase and press I to insert this. Now, usually, when you inset any of the faces, it should be equal from all directions. But over here, you can clearly see that this part is really wide while this one is really thin. And if I try to inset this one, this will be completely fine as it is completely uniform from all four sides. So this is the point of applying the scale. Basically, the rule of thumb is whenever you change the scale of your object line, you scale it up in any of the directions, press simply controlling and apply the scale. You just have to memorize this, so I will select them both, delete it. And now with that out of the way, make sure to select your door, press Control A and apply the scale, and then we can start doing the operations inset or bevel anything, whatever you want. So let's select these two faces and press I to insert them. And you can press I once again to make sure you're inserting individually like this because you might also insert it like this as well. So press I to insert this so that you can insert them individually. Let's just insert this still here. I think this much is pretty good. Then what I want to do is that this middle part is really, really thick, so I want to make this a little bit thinner. So enable Xray from over here. We can press one to go into the vertice select. So with the help of Xray, basically, we can select the vertices that are behind the face as well. So we want to make sure that we select everything. So now that everything is selected, you can press S and then Y and just squeeze this in like this. So that it becomes a little bit thinner. And now you can press three, select this phase, select this phase, press E, and extrude this inwards like this, just a little bit. And we have our very simple shape of the door. It would kind of look a little bit weird because the edges are really harsh right now. So to fix that, we can just simply select it and add in something like a bevel modifier. So go into your modifier section and add modifier and just search for the bevel modifier. And yeah, already, it looks really good and better. Make sure to apply the scale. Reduce the bevel amount. We don't want this much bevel. Let's go with something like this. Enable harder normals and make sure right click and shade auto smooth this. Select this smooth bi angle modifier that is added after Shade Smooth, and you can click on here on this pin icon and just move it to the top, and this will give you the best shading. I will press Tab once again on this door. Sorry. Enable Xray once again, select this part, and I just want to make it a bit more thinner in my opinion. Yeah, this feels pretty good to me and you can already see with the added bevels and a couple of extrusions, the door is appearing a lot more better. If you want, you can add the bevel to your like the wooden bars as well. Make sure to press controle apply the scale. You will see as soon as we apply the scale, the bevel changes a lot because it kind of adjusts itself according to the scale. I will just decrease the number from over here. Now we can add it to the other wooden bars as well. Just make sure to decrease the bevel amount and apply the scale for them. Press control apply the scale again and reduce the bevel amount. Yeah, pretty good. With the added bevels, the wooden bars look really nice because in real world, there are no very sharp or harsh edges. So that's why it is nice practice to just add a bit of bevel to your models. All right, guys. If you will look over in the pure f once again, we just have this small bit of square and cylinder added on our door. I think basically to help open the door by holding it. So yeah, we can just quickly add that as well. I'll select the door and we can go once again in the local mode, so press slash, press one for the front view. So by pressing the different keys on a number pad, you can go into different views. So one is for front, which is basically giving us this. So I think we need to press three for the right side view. And yeah, we are good to go over here, press Shift A and add in a cube, scale this cube down. I think this much is pretty good and move it right over here. Now, scale this down on the x axis like this. Maybe we want to move it a little bit downwards till here, maybe. Also, I think I'll press stab, select these two faces and just decrease the extrusion a little bit. So press G, then X to move the pace a little bit upward still here. Select the cube and bring it out as well. This feels pretty good to me. Now you can select this cube, press Shift, cursor to select it because we want to add the cylinder right at the center of this cube. So that's why I will bring the three D cursor right over here. So basically, you need to select the cube, press Shift plus, then cursor to select it. Press shift A and add in another cylinder, scale this down, press R then X, for R then Y and type in 90 to rotate it like this. Right click and shade how to smooth this to remove all of these harsh edges. And let's press S the next to scale it down like this, maybe scale it up a little bit like this. Pretty good. Just select the cylinder, press tab, press three for phase select. Make sure to apply the scale first for both of them. So press Control, apply the scale. And I think I will just select both of them, press Control plus J to join them into a single object. You might notice that we get a little bit of shading issue, so just select it and we can fix this by adding in a bevel modifier first, adjust the bevel amount. Right click and harden normals. Then add a shade auto smooth and again move this to the top. And, now you can see the shading issues are pretty much fixed. Press tab, press three for phase select. Let's select this phase, press I to insert this once again, and just extrude it inwards a little bit and scale this down. Maybe have something like this, and I personally think this looks good to me. Let's press slash to come out of the local mode. All this whole shift and right leg to move the three D cursor away, and we cannot really see it properly, so bring it out a little bit. Yeah. That's a lot better. I kind of think that the square is looking a little bit too big. Let's compare it over here. I'll just decrease the size of this overall a little bit. Press tab and you can select the square by hovering over it and then pressing L. So you can press L to select any of the objects by hovering over them like this. Make sure you are in the face select, so press three and then hover over it, press L like this and scale it down. Again, hover over the cylinder, press L and scale it down a little bit. I think this is better. Yeah, I'm happy with this. Press Control plus has to save your files and let's continue further. Let's look at it in some of the other reference images. We also have a little bit of wooden bar going over here as well, and then we can add another second door along with it. So let's do that. I'll move it over here. Maybe let's select this only press Shift plus D and move it to the side. You can remove the mirror modifier for now. Bring it out right over here, press R, then Z to rotate it on the z axis by 90 degrees and type in 90. Let's move it in. Just like this. Yeah, I think this is pretty good. Select it, and we can go over here and add a mirror modifier. And this time, select the mirror object as the room and just select Y axis and remove the X. Okay, perfect. Select the door, press Shift plus D, bring it out, press R, then Z, type in 90. And again, move it back over here and in with this door. Now, what I want to do is I do want to decrease the thickness of this door because I think it is covering a bit too much space over here. So just select it S and Y. You can just press S and X and scale it down. Let's see. Maybe I think this much would be pretty good for now. So I'm going with Y 1.75 and just move it a little bit inwards once again. Select this press Shift plus D and then press X, move it till here as well. And we have something like this. I don't want to mirror it over here on this side, so just select it and remove the mirror modifier for this one. And this way, we have a pretty good setup of our room. If we look at the reference image, we are going fine. I think we can next create these doors as well, but I think we will be doing that. In the next lecture. I think this much is pretty good for this one. So let's just save thank you as watching. I will see you in the next one. A 4. Modelling the Wooden Doors: Hello, and welcome, guys. So let's continue working on our environment. And if you will look over here in the reference images, we do have these doors over here on the right and the left hand side, which are a bit different from the doors over here. So these doors are, I think, called the Fusuma doors, and these are the Shoji doors because these ones let light pass through them because they're like, as you can see, kind of translucent material. So yeah, we will be creating them. And let's just start by pressing three. And you can press Shift A and search for image reference. And if you will go over in the reference images folder, you will find a reference image for the door over here. I've added two images in one, so this one is for the light that we will be creating from the top. But let's just work on the door right now. It's pretty simple and basic. You will find a lot of these reference images on Google as well if you want to create some other design. But yeah, I will be going with this one. I will select the image press Shift plus S then curse select it. Bring the curs over here, press Shift A, and let's start by adding in a cube. Let's move it right over here, enable Xray. And basically just press SN Y, scale it up like this, and just match it with the lines in the reference image. Press SN Z and scale it up like this as well. And now basically we have got the shape of the doors. Let's bring it out over here, press S then X and scale it down this way. I think a better way to do this would be to just press tab to go into the Edit mode. Press three for phase select, select this phase, press X and delete the vertices so that we just have this single plane. We can work with this, I think, much better. So now press Tab enable Xray, and just press Control R, and we just need to add these edge loops that you can see. Pretty simple stuff, just add the edge loops wherever you see them in the reference image. For pressing Control R, let's add one over here. Again, press Control R and add one right over here. And, this is the reason I deleted the backside. Yeah, now you can just press sweep of phase selectable X ray and select all of the pass that need to be extruded out. So like this one, this one, sorry. You can hold Shift enaugt and select them at once as well. So just hold Shift enaugt and select this complete loop like this, like this. And as you can see, these are only the faces that we need to extrude. So press E to extrude it out and extrude it out like this a little bit. Yeah, I think this is fine. We can add in a bevel modifier and just make sure to apply the scale for this. Yeah, that fixes the bevel, adjust the bevel amount, and enable hard noms. Now, next step is to create these designs, which I think is pretty simple. I will press three and select these two phases. Press P. So B is to separate the selection, so press B and separate the selection like this. Basically, it will create a separate object out of the part that you have selected. So now this is like a separate object. Now I can select just this part and then select the image. Let's press slash to go into the local mode. Press tab to edit these planes. Let's enable Xray and see what we can do. What I will do is I will select this right side, press X and delete the word Cs, and the origin point is already at the center, so it will work perfectly. We can just add in a mirror modifier and set it on Y axis. Perfect. As you can see, now it is mirroring over here. We can just edit the left side and the right side would be done on its own. What I will do is I will also enable clipping and you can just select these two u word Cs, press G, then Y and join them at the center. So basically what clipping does is just to explain it, if you disable clipping, if you move past the center, you will see they will go like overlap each other. They will overlap each other like this. But if you enable clipping, they will basically join at the center and not move past each other, which I think helps us a lot. So we just want to join them together and create one single plane, press control R and add edge loop right over here. You don't have to do much just add edge loops like this. So one over here, again, one over here like this. You don't have to worry about the thickness and stuff like that. Add edge loops. Like this and over here, again, one over here and just try to add them in the center of the edge like this. And with this, I think we have added them at all of the areas where we want to create the design. And now we just need to delete the extra word C. Let's say select this one, press X, and delete the word C. As you can see, we do not really need that one, we can select this, select this as well, press X and delete the word C, this one, and I think this one as well, yeah pres X and delete it. This one, pres x, deleted, these two And now we just have these faces. So we can select these phases that we need to delete, press X and make sure you delete only pass because if you delete the complete phase, the word Cs and edges would be removed as well. So press X and delete only faces. And what we have is basically we have this design that we can easily extrude and create. Make sure to delete this edge as well. PresX and delete the edge. I think we need to remove a couple more. Yeah, this one as well. These two, press X and delete the edge. And yeah, perfect. Now I think we should be able to create the design that we want to press A to select everything and press E to extrude it like this. Press X to lock on the X axis and just give it extrusion till here. We have something like this, which looks pretty weird. It does not really have any kind of thickness or anything. It's just this design. It does not have any thickness. So to add thickness to it, just add in a solidify modifier. As soon as you add a solidify modifier, you will notice that we can give it thickness like this. It looks really weird because it is not adjusted properly, but don't worry, we'll fix that. But we have got our design. So to fix this, make sure to enable even thickness. So first step is to enable even thickness and go from simple mode to complex mode. And you will see as soon as you do that, all of your issues are fixed. One last step that I will do is, instead of using the offset at minus one or one, you can set the offset to zero. Basically, this will put this exactly at the center. Offset is nothing much. Basically, it will move around your model inwards or outwards. So as we place the edges exactly at the center, we can set this to zero, and it will be centered like this. And now we decrease the thickness. And we get the perfect design that we want, and you can see how easy it was. Press S then X and scale it down like this, press slash to come out of the local mode, and maybe we move the Bbel modifier at the bottom to actually add the bebel to it. Press control, apply the scale, bring it in and just decrease the size of it. And maybe we give our door a little bit more thickness. Select these areas. It's a little bit difficult to select the door part now because we don't have a face. So just select it like this. Make sure to enable X ray and just select the back faces or the word Cs. Now press G, the next and move them behind like this. And now we have increased the thickness of the door. Make sure to press tab, select these three faces, and just bring them in. We don't want that much thickness for this part. Yeah, I think this is fine. And now what we need to do is we need to place this in our room. So press R, then Z type in 90 or I think R then Z -90 to flip it like this. Let's bring it in. And obviously, decrease the scale a lot. I think this much. Try to fit it perfectly within this. And yeah, I feel like this looks pretty good. As you can see in the reference image, we have a couple of doors over here. So I think I will be going with two, maybe. Make sure to just bring it out a little bit. We will fix this later on. Don't worry. Select this press Shift plus D and press G, the next and move it right over here. And I feel like this is pretty good. It looks nice. I can select this wooden edge, a wooden bar, again, press Shift plus D and then press X to move it along right over here. Perfect. I think this looks nice. Again, select these two, and we need to add the door over here as well. Now you will see because of the mirror modifier, this wooden edge is being copied up over here as well. Let's just fix it after a while. I'll select the door first, press Shift plus D, press Y and bring it out over here, press R, then z type in 180, rotate this by 180 degrees and just push this in like this. A idea. This is pretty good. Now we need to move this bar right over here. So instead what we can do is we can just go over here and apply the mirror modifier. So right now, we cannot really edit out this part because if we move it around, you will see both of them will move. But what we want is we just want to move one of them. So for that, we have to apply the modifier, making it permanent in a way. So just go over here and apply the mirror modifier. Now, you will see both of them are kind of separate objects. So if you move one of them around, it won't affect the other one because we have applied the mirror modifier now. So just select this one, reis G then X and move it right over here. Alright, guys, I think our layout of the room is starting to come along. But now what we want to do is because we want the light to pass through these areas, like, as you can see, we do get some light coming in from over here. And also, this glass type thing is transparent or translucent. So we don't really need the wall of the room because this whole face is like the wall. So we need to remove that part. So to do that, nothing much just press control. Enable Xray. First, press Control R and add edge loop over here. Just make sure it is added in the wooden bar so we cannot really see it, add one edge loop right over here, and add one edge loop right over here at the top. Similarly, do this over here as well, press Control R and add one edge loop on this edge, press Control R, and add one edge loop on this edge. This way, what we can do is now we can isolate these faces that are behind the door and just select them. Again, select this and select this, press X, and delete the faces, and we get something like this. This is much better as we can now add our own planes over here, which we can maybe give the glass material or maybe emissive material so that we can show light coming through, and we get a different material from the walls over here because these planes would be the walls of the room, and we can add a separate plane over here in the doors. I will select this image, press M, and move this to a new collection and rename these two reference images so that we can just kind of, you know, turn it off when we don't need it. I will select this door press S then Y and scale it down a little bit like this. Maybe just select the door part. Yeah, this feels better. I think this is a bit too much thick, so press S Y. Select this again, scale it down. Bring it out like this. Maybe push them in just a little bit so that we can actually see the bars. Yeah. That's pretty good. Let's just hit save. And with this, we have added our wooden doors as well over here. I think this money is pretty good for this lecture. I will see you in the next one, guys. Thank you for watching. 5. Creating the Big Cupboard: Hello, and welcome, guys. So in this lecture, let's start working on some of the props. If you will look over in the reference image, we have basically done the basic layout of the room, so we can start working on some of the assets to detail it up even more. So I will be starting with this cupboard right over here. And if you will open up the reference images, you will find this reference image for both the cupboards, this one and this one as well that we have right over here. So let's just bring this into blender. I'll press three for the right side view, and you can use your shift and right click to use your three D gaza and bring it somewhere around here. Press Shift A, and let's add in image reference image and go into our folder and just bring that in. All right, so it is pretty simple creating this. Let's start by pressing Shift plus A and adding a cue. Let's move this cube right over here, Enable Xray, and I'll scale this down according to the reference image. Scale it up on the z axis, so press SN Z and just scale it up like this. All right. So first, what I will start by doing is, okay, let's just decrease the thickness over here, so press Athens and scale it down. All right. So I'll press tab to go into the edit mode, first make sure to press Control A and apply the scale, press tab, press Control R and create the main three partitions that we have. So as you can see, the reference image has three sections for the cupboard. So one of them is the top one, the other one is the second part, and third one is the bottom part right over here. So I'll create the three sections, so press Control R, and you can use your scroll wheel to increase the number of cuts like this. So give it two cuts. And I will just select this one and press G and Z and move it right about like somewhat around here. So this is the first section of the cupboard, and this is the second section of the cupboard. So this one and this one can be like the third section, is to make it clear these three sections of the cupboard I'm talking about. So that's why I've created like three different loop cuts for that. So before we actually start to model and detail things around, I will let's just undo it. Yeah. I will press tab, press three for phase, select and select these three phases. And now you can press Shift plus D to duplicate them, and then you can press X to bring it out just a little bit. And then we can press B to separate the selection. So the reason I just created them a separate object is because we will be editing this as the main cupboard. We will be extruding these faces inwards, and later on, we can edit these faces out to create the actual compartments. So yeah, that's why I've created a duplicate of them and created a separate object. So now I will just select this plane and press H to hide it so that we can work freely on the cupboard. So now press three, press tab, and then we can start working on the cod. So let's just start by first rounding out these edges. So you can press two and select this one, this one, this one, and this one. Press three once again, press Control plus B to bevel it out and just give it to bevels like this. I think this much is pretty good. If you want, you can make it even more smoother, but that's totally up to you by increasing the number of segments. I will be going with two to keep it fairly low poly as well. I think that's fine. And then next step is to select this front face. So just select all three of them. And then I will enable tray once again, press I to insert this and just insert this till here, where it is in the reference image. Yeah, perfect. And now we can just completely extrude this in words like this. Perfect. Right click, shade or to smooth this and let's just add in a couple of modifiers, add a bevel modifier, move the smooth biangle modifier at the top and make sure to enable harder novels, and then just adjust the bevel amount like this. Pretty good. I think it looks fine. I think with this, the basic shape of the cupboard is done. So yeah, that's why I created like a duplicate of these faces. So you can press d plus H now to bring those faces back, and now we can just push them in over here and start working on them one by one to create the actual compartments of the cupboard. So the way we are going to do that is press tab. These are now three separate pass, so just select them all one by one and press P and separate the selection. So all of them are completely separate objects now, so one, two, and three. Okay, let's get on with the first one. I will select these two and press H and select this one, enable Xray, make sure to press control, apply the scale, now press tab, and just simply move the edges where they are in the reference image. Just like that, press control R and add partition over here to create these two separate ones. And then what we can do is, let's see. Let's start by selecting this and selecting this one, press Control Shift and B. So control shift and B is to bevel out vertices. So to bevel out edges, we can just directly press Control plus B and they will bevel out like this. So this is for edges. But if you want to bevel out single vertices, you can just press Control Shift and B, and it works kind of in the same way you can add more segments like this, yeah. Let's go to once again because the bevel is pretty small. And these two vertices are fine like this only because they are harsh in the reference image as well. If you want to bevel out these as well, it's completely fine and totally up to you. All right. Next, let's just press A to select everything and press E and extrude it backwards. You actually give it some kind of thickness. We can extrude it till here because it won't even be visible, so that's fine. Press tab, enable Xray and let's see. Make sure to select the front faces over here. Select these two faces, and then you can again enable Xray and press I press I once again to insert them individually and insert them till here like this. Press one for Wort C, select, just select a couple of these edges and just move them upwards according to the reference image. And yeah, I think rest is pretty much fine. You can notice that these vert Cs are what do we say? Like smoothened out or beveled out as well. So just select them all one by one and press Control shift in B and just bevel it out. Make sure to not add too many segments. I think one is fine because it might make the geometry a little bit too dense over here. So I think this is pretty good. It gives the same look as the reference image. I'm happy with this. Select these two faces and basically just now extrude them in a little bit inwards like this. This way we have created our compartments to make them look even better. Simply just add a bevel modifier because right now the edges look too sharp. So if I add a bevel modifier, you can see it smoothens out a lot and this looks pretty good. Apply the scale right click, shade or smooth this, move this at the top, and you might notice a few shading issues, add harder novels, enable harder novels, sorry, and just adjust the bevel amount to a little bit lower number. And yeah, pretty good. I'm really happy with how this is looking. Let's press three to go into the right side view enable Xray. And if you want, you can try creating the remaining two on your own as a type of small exercise as well. But yeah, I'll just continue making the cupboard. You can press plus H now to bring the remaining faces back. And let's select this one now, and I will just quickly hide it. Press tab on this pace Enable Xray. But first, just make sure to press Control A and then apply the scale, and let's select these word Cs, bring them in over here. And selling. These ones as well, and just adjust them all according to the reference image. Press Control R and add one right over here. Then I can select this phase, press P, and separate the selection once again. For that, again, these two are separate objects. I will select this edge and bring this in right over here like this. All right. Let's see, select this phase. Press A to select everything, and then you can press Control Shift and B to bevel it out all of the edges or like the word. Just bevel them out like this, press I to insert and insert this till here. Again, press A to select everything, press E to extrude it backwards to give it thickness, and then just press and then just right click, shade or to smooth this, press tab, select this phase, and again, press E to extrude it inwards. Similarly, let's make this one as well. I'll select it press three again and go into the edit mode. Let's see. We can press Control R and add two edge loops like this. Let's increase the scale of them and move them down like this. And now press Control R and add one edge loop right over here. What I will do is I will select these two and press F to just make them a single phase only and select these two as well, press F and make them a single phase. You can select these two word Cs, press X, and dissolve them so that we get something like this. We don't want the extra wort Cs or edges in between. That's why I just remove them. I'll select these two faces, press I to insert them, and insert them till here. And similarly, select these two as well, press I and insert them like this. Perfect. Now just press to select everything and extrude it backwards and just select all of the faces one by one and extrude them just a tad bit inwards like this. And we basically have our second compartment created, as well. Let's just add a Beviel modified to it and adjust the beviel amount and also enable harder novels. Do the same for this one as well. You can copy the Bebel Modifier as well if you want to if you don't want to do the same settings again and again. The way you do that is select this first and then select this one, press Control plus C, and you will find this menu, go to copy selected Modifiers, select them both and hit Okay. And you will see now the Beviel modifier is copied. If you don't find this menu appearing up when you click Control plus C, you can go into Edit preferences and just search for the copy attributes menu. Over here. In the add on section or I think you can find it in the get extension one. If you don't find it over here in the add on section, just search for it in the extensions one, you will find the copy attributes menu and you can just basically very easily install it from over here. That way you will get the copy attributes menu uppear up whenever you press Control plus C. All right. Pretty good. I will now press Shift plus S then curse to select it. Let's press Shift A and ad in a cube and just bring the cube right over here to fill out the pass in between these What do we say? The compartments. Make sure to adjust the size appropriately. Let's is Control, apply the scale and add in a bevel modifier first, adjust the bevel amount, and obviously enable hard normals. Make sure to always apply the scale whenever you change it. Now you selected press shift plus D, pre Z to lock on the Z axis and bring it right over here at the bottom as well. And then once again selected pressure plus D. And then I think rotate it on the X axis by 90 degrees like this and just move it right over here in between these two. Move it up and just decrease the scale of it on the z axis. If you want, you can just move it a little bit backwards so that we don't get this overlap right over here. Yeah, move it a little bit backwards. In this down on the y axis, I think. I'll just bring it out a little bit like this. I think this looks pretty good. Let's just it safe first, and then we can continue Presal plus H and bring out the final compartment. This one is pretty easy. Just quickly select it and select all of the word Cs one by one and just adjust them accordingly. Press Control R at two edge loops and just adjust them a little bit like this to fit properly with the reference image, press Control A, and apply the scale. And then we can first select these two vertices, press Control Shift and B, and bevel it out like this till here. Then select all three of the faces and press I to insert till here. Maybe just move this one down a little bit more. Yeah, that's fine. And now just select it all. So press A to select everything extrude it backwards like this. Then we can select this phase, press E to extrude it. Again, backwards to create this compartment inside. And for the front two phases, just press E and move them back just a little bit, not that much. And yeah, that looks pretty good to me. We can add in a Bbl modifier, shade or to smooth this and just do the usual settings Make sure to just select it, go to object set origin, origin to geometry, so that the origin point is placed at proper locations for all of them. You can maybe just select it all and then go to object set origin and origin to geometry. This will fix the origin point of all of them. And with this, our first compartment is basically done. Next, we can start to work a little bit on the these handles, obviously. So these are going to be pretty simple. Press Shift A add in a plane. And what I will do is I will just select the plane and select the image, press slash to go into the local mode so that I can work a bit more freely. Select your plane and press R then Y, rotated by 90 degrees. Scale this down and just scale it this much like the amount where you can cover these two edges within this handle like this. This way I can add in a mirror modifier to it. So press Control R, add edge loop right in the middle. So hit right click and just delete the right side part. Press X and delete the word Cs like this. Now, press Control apply the scale and just bring in something like a mirror modifier. Set it on Y axis and remove it on the X. Press tab, press A to select everything, and don't enable clipping from over here so that we can disconnect them and just scale them down and place them over here like this. This way now we have a mirror modifier working, and we can just work on one side of the handle and the other side would be done by the mirror modifier. So simply just let's go up over here, extrude it like this. Maybe select this part, scale it up like this. Select this part, press E, and just kind of rotate it a little bit. Let's move over here in this view. Let's move this down, scale it down a little bit. You don't really have to follow the reference image exactly. I'll just rotate it one more time. Now make sure to enable clipping and just connect them both in the middle. We will get something like this, which does not look that great at all. Let's press slash to come out of the local mode and bring it out right over here. But don't worry we'll make it work. Enable X ray once again, press tab and select this part and just move it down. Select this as well. Move this down right over here. Sorry. Let's unto it and this down once again, select this edge. You can also just hold odds, select an edge, press G two times to slide them back across that same edge. I just bring it out a little bit more. We have something like this. Now we can just simply add in a subdivision surface modifier. If these two subdivisions, go over here and apply the mirror modifier, press tab and enable X ray first. And you might notice that there is a phase in between. Press X and delete this phase. This is important because this will give us the curve right over here now properly. Earlier, it was looking very sharp. So just delete this phase first. Make sure to enable X ray and select the phase right over here, press X and delete the phase. Now we get it much better. And we'll just try and make it look a little bit better. I'm just holding shift enu selecting the respective edges, moving them back. Now what do we say the handle is starting to look nice, but we can add in a couple of edges, sorry, like edge loops, suppress Control R, add a couple of edge loops like this. Maybe we can add one like this as well, and one over here in the bottom. I think I'm pretty happy with this shape. M Xray. Yeah, the earlier one is a little bit too much downwards, but I think I'm going to go with something like this. I think this feels a little bit more natural and nice. Maybe I do want to reduce the size of these faces behind. So just select them all like this and make sure to go over here and select individual origins and then scale them down this way. Select these two as well and again scale them down. I think this handle looks pretty good to me. So I will now just duplicate it onto the rest of the model. Select it, press Shift plus D, bring this down. Again, press Shift plus D right over here and right over here as well. All right. With that, I think our model is looking pretty nice. The handles look nice, as well. I will maybe just quickly select them all once again and decrease the size of them just a little bit. Make sure you are in individual origins only. If you are in bounding box, it will scale down like this. But instead, we want to just scale them on the individual origin. Scale them down this way. All right. Pretty good. Let's just finish it up with adding these small little handles as well. I'll just select this part, press Shift plus cause it to select it, add in a cylinder, rotate this by 90 degrees on the Y axis, scale this down, bring it right over here. And again, scale it down like this. Right click and shade how to smooth this press Control A, apply the scale, and then you can just press Tab. What we need to do is we can just select this face on the top, press I to inset. Instead, we still here. And then just simply maybe we can extrude it inwards and then press I once again and extrude it outwards create something like this. Finally, we can add in a Bbel modifier, which will help in smoothing out the edges. I will press tab, press two for Select Hold dot, select this complete loop, and then press Control B and bevel it out like this. And yeah, I think this looks pretty good to you. So now, once again, just selected and duplicate it over here and over here as well. And with this, we are basically done with our cupboard. I think it looks pretty good to me. You can disable the overlays and just check it out. Let's just save on our files, and I think it's a pretty long lecture now. So I'll continue from over here in the next one, we will be creating the next cupboard and also we will be placing them both around NRC. So thanks for watching. I will see you in the next one. 6. Modelling the Small Cupboard: Hello, and welcome, guys. So in this lecture, let's start by creating the next cupboard. So by using kind of the same principles, we can create this one as well. So press three for the right side view, pre shift, and let's add in a cube, and let's just quickly scale it according to the reference image. And then we can also just press S then X and scale it down on the X axis like this to decrease its thickness. Somewhere around here, I think is fine. Next, what I will do is simply I will just press tab, create a very simple partition right over here. Nothing too much right now. So press Control R, add a edge group somewhere around here, and then we can just press three for phase select, select these two phases, press Shift plus D to duplicate them, and let's bring them out a little bit on the X axis like this and just press P and separate the selection so that later on we can edit out these phases. I will press H to hide this phase, and again, just select this object back again. And simply, let's see, we can select this edge right over here, press Control B and bevel it out. You might notice that the bevel is not really working correctly. It is working in a non uniform way because we haven't applied the scale yet. So just press Control A, apply the scale, and then when you bevel this out, yeah, now it is working fine. I think this much amount of bevel and segments is fine. So yeah, I'll be going with this. Now very simply just select these two faces. Press I to inset and we can insert this right about till here. Press one for word C select and just select the word Cs, and you can just adjust it according to the reference image, obviously, so that we have something like this. And now let's just extrude it backwards. Press three for phase select, select the two faces, press E and extrude it till here. And we have the basic shape of the cupboard ready. Right click and shade to smooth this, and then we can add in the bevel modifier. And now let's just move the smooth biangle modifier to the top and we can adjust the bevel amount. Yeah, this is fine. Next, let's press Alt plus H to bring back our hidden faces and press tab, press three for phase select. Let's select this phase, press P, and separate the selection so that we can further separate them both out. I will once again just press H on this one and hide it, and let's select this and move it back. So let's see now. It's pretty simple. We just need to create these compartments. So first, let's select all the word Cs and place them according to the reference image like this. Press Control R, add one right over here, and then maybe I think we can just press three and select this phase. Again, press P and separate the selection. So that we have two different phases now, select this one and just move the edge right over here like this. From over here as well, just bring it in closer. Now we have these two faces. Select them both at once, press tab to go into the edit mode. Enable Xray. Okay, make sure to press Control, apply the scale first, and then press tab, enable Xray and select everything, so press A to select everything, and then just press Control Shift and to bevel it out like this. I think two segments is fine, and now we are beveling it correctly. So just do it like this, extrude it backwards. And now press three for phase select, select the two faces, and let's just insert it according to the reference image. I will press S and Z and scale it down a little bit on the z axis like this, the face, and then just extrude it backwards. Just a little bit once again. So yeah, with this pretty much, these compartments are also created. I will again select them both and then press Control J to join them together because now we have finished them up, white click, shade how to smooth this, and let's add in a bevel modifier. Let's move this to the top and enable harder normals. Maybe adjust the bevel a little bit. Yeah, that's fine. And I'm pretty happy with it. Let's just I will select this part only like this we have over here, press Shift plus D and bring it right over here. Press R and then type in 90 to rotate it like this, and then we can create this part using the cube. Press S the Z and scale it down. Press S Y and scale it up like this, and again, just match it with the reference image. Now come out of this and just try to fit it with the actual model properly. Make sure there isn't too much space between any of the faces or the edges over here at the top, or over here as well, between these faces. But I think it's fine. We can work with something like this. Then I will just select it press Shift plus D, press Y, and just bring it right over here like this. Pretty simple press fault plus edge to bring back the hidden face. Let's enable Xray, and let's see how we can create something like this. So once again, I will press tab enable Xray and first, let's bring it close to the edge over here to create the actual drawers. I'll select this edge as well and bring it just about here. Press Control A, apply the scale, and now press Control R to add two edge loops, one over here. Once again, press Control R, and we can add one edge loop over here. Yeah, that's fine. Then I will select this vertice, press Control shift in B, and bevel it out like this to give it the smooth edge. And with this, our raw compartments are also created. Just press Tab, press to select everything and extrude it backwards like this first and then we can just add in a bevel modifier. Make sure to apply the scale, adjust the bevel amount a little bit so that we can see the bevels, in the corners and everything. Enable hardened novels for this. And yeah, pretty good. Now we can just basically, let's just select this cube only, press Shift plus D. And then press R then type in 90 to rotate it by 90 degrees once again. Scale this down. Enable Xray. Let's pace this one over here. Press Shift plus D, press Z, and bring it down to over here. Yeah, I think that's pretty good. Et's move them back a little bit. I think the drawer compartments also look fine. I will select the handle now, and now we can just press Shift plus D, duplicate it, place it right over here, maybe increase the scale for this a little bit. Now, let's just come out of X ray mode and move it back like this. Press Shift plus D, then press Z and bring it down. Match with the reference image once again, press Shift plus D, preset and bring it down. Make sure you are roughly in the center of the square. I will select this one. I will move it up a little bit and maybe off center it a little bit because it does not really have to be exactly perfect in a straight line. Maybe we can select this one as well and off center it a little bit so that we get some type of variation like this. Yeah, I think that's fine. And then I will select this part. And pressure plus D, bring it over here. Enable X ray press Shift plus de duplicate it and just place it right over here as well. Select them both and push them back into the cupboard like this. And with this, both our cupboards are ready, and I think they look pretty good. So the next step to do is to obviously place them around in scene. So first, I will select the reference image, press M, and move it to the reference image collections, and then select both of the cupboard maybe we can just move them both to the cupboards collection as well. So press M, create a new collection and rename these two cupboards. Maybe with this, we get a little bit more organized Blender file. And yeah, we can just enable or disable any of the parts whenever we want to. I will just select all of this and maybe we can put this in the room collection, so click on New and create a new room collection where we have all our models related to the room. So yeah, let's close this. And now before we actually place both of the cupboards in our seam, what I will do is it is very difficult to, like, again and again, select all of the objects, and it will get even more difficult when we have more objects around it because let's say I want to select the cupboard entirely, I cannot really select it properly because we have other objects as well. So either you have to, like, painstakingly select each and every single object like this by holding shift, or you can maybe select it all, then press Control J to join them together, which I don't think is the better option. I think the best way to do is just select it all first, press Shift puss cursor to select it so that the cursor is roughly in the center. Press Shift A and add in an empty object. So empty object is basically nothing. We have this empty plane axis object, which we can use as the parent of this object. So basically what we will do is, let's increase the scale of it a bit so that we can actually see it. We can move it to the top maybe. And now what we do is make sure you select all of your cards. So only select this big card and not the small one. And now the next step to do is to select the empty axis at last. So you can hold Shift and just click on it once again so that it is the active selection. So by active selection, you can see all of the other objects that are selected are in this orange color outline, while the active selection is in this yellow colored outline. So just make sure that the empty axis is the active selection. Then you can hit right click and go to parent and hit Object. You will see these dotted lines appear that are connected to your axis with all the objects of the cupboard. Now, when you select just this one, you can move it around easily without having to select all of the other objects. We can just select the parent object and move it around. We can even scale or rotate it like this. Perfect. Let's do the same thing over here as well. Select everything press Shift plus because it's selected, pre shift and add in a plain axis. Let's move it to the top as well. And now just select everything, make sure your axis is selected at last. So just select it like this and then right click parent Object. All right. Perfect. Now we can let's press three. First place this one right over here. And obviously, we need to scale it down like this. Maybe a little bit more. I'm just checking the length of it. So somewhere around 1.15 on the Y axis for this thing. So just a little bit more. And yeah, I think this much size is fine for a small cupboard. Now we can just move it at the back of our scene. Just like this. Make sure it is not really overlapping with any of the other objects, but I think it's looking pretty good to me. I will select this one now. Again, press three, move it right over here, scale it down. Scale it up a little bit more. Somewhere around 1.5 meters for the overall height of the cupboard. So just scale it down a little bit. Yeah, somewhere around here roughly. Yeah, that's fine. I'll place it like this and just move it in. And yeah, pretty good. Let's move it at the back of our scene. Maybe I will decrease the thickness from the back like this. So press tab, enable X ray, and just select this backface. Press seven for top you and you can just select the top part like this and just move it in. So press G, the next and move it in a little bit like this so that we don't have too much thickness over here. Now we can just move it back till here like this. And yeah, I think this is pretty good. Maybe, I think I will decrease the thickness a little bit more. Obviously, these things are totally preference based. If you want to make the cupboard look a little bit bigger, you can do that, or even the card that is present over here. But yeah, I think I'm really happy with how this is turning out. So yeah, let's just save, and we will continue from here on out in the next video. So thank you for watching. I will see you in the next one. 7. Creating the Chair: Hello, and welcome, guys, so let's continue working. In the last lecture, we place both our cupboards, as you can see in the reference images as well. We have placed both our cubods correctly in our scene as well. I think what I might want to do is that we can just select this part and just move it a little bit upwards. As you can see here in the reference image as well, there is quite a bit of space in between over here. And I will just select this press S and Z and just scale it down a little bit like this, just a little bit, not that much so that we can move it down. So we can somewhat match with the scale of the reference image. And now I think the space over here looks fine. Maybe move it a little bit upwards. And yeah, I will just select this once again, press S, then Z and scale it down a bit more and just move it down on the floor like this. And with this, I think it follows along with the reference image a bit better. All right. So to start off in this lecture, we will be working on the rocking chair that we have right over here. I think that is also a very much important asset in our environment. So let's start by creating that. I'll press three for the right side view, press Shift A, and let's add in a reference image, and we can go into our folder and just bring in the reference image for the rocking chair. So let's bring this in. It is also pretty simple. We don't have to do too much. I will move the reference images now onto my second monitor, and then we can just press Shift A and you can add in a single word. So if you don't find the option to add a single word, you can go over here to edit references, and then you can just go into the add on section and search for extra. And enable both of these extra curve objects and extra mesh objects. If you don't find these add ons over here in this section, you will find them in the Get extensions section. So you can just search for them over here and then download and install them into Blender. So you're pretty simple. Let's just close this now. After you have enabled them both, you can press Shift A, and you will find all of these extra objects in your menu. So I will add a single word and press one for word C select and just move this word C and we can place it right over here. Now, very simply, just press E and start extruding it out and racing out the reference image. We have already done this type of thing a lot of times by now so we can just quickly press E again and again and extrude it out to completely trace the image. Y All right, guys. So we will be going somewhat like this over here, and we will be creating this leg separate so we can just extrude it like this. Like we will be going over this area. So just avoid the first leg. We have to make it a little bit curve. That's why we'll be creating it as a separate object. So let's just create this part first. And also, guys, if you want to use some other type of reference images for the rocking chair, you can definitely go for that. There were a lot of different reference images available on Google for any type of rocking chair. But if you will notice, I have gone for exactly the same one that we have over here in our original reference image. And that is because I have created this chair on my own to, like, match it one to one with the reference image so that we can, exactly follow it. So I have created this design on my own. And then created the reference image out of it. But if you want to go for some other type of design for the chair, you can definitely do that as well. All right, so let's continue. We are almost done now. So let's just extend this till here. And now you can just press F to connect them both. Select them both, select both of these words Cs, press F to join them together. You can press Control R. Let's add one word C right over here, and we can place it like this. And with this R, one section of the chair is done, I will move the image back over here. Alright, so now you can just select the chair object, press Dab to go into the edit mode, press F to fill out the faces. And obviously, we know that the chair is a symmetrical object, so we can use something like a mirror modifier to also duplicate it on the left side as well. But right now the mirror modifier won't be working properly because as you know, the mirror modifier uses the origin point to mirror anything, but right now it is exactly placed in the center. So to fix this, it is really, really simple. What we basically want to do is we want to keep the origin point here only, but we want to move our model to the right like this. But the problem with this is, let's move the three D Gaza right over here so that it does not block our vision. So the problem with this is whenever you move around your chair, the origin point moves along with it. So there is a really, really simple and easy fix for this. You press tab to go into the edit mode. Whenever you move something in the edit mode, the origin point stays exactly there. So you can press A to select everything, press G, then X, and move it to the right like this, and you will see now the mirror modifier is working perfectly. Basically, the mirror modifier uses the origin point and then it will mirror it across both the axis like this. But because our origin point was exactly in the center like this, it didn't really know where to copy the stuff. So if we just select it and move it a little bit apart and offset it, then the mirror modifier is working perfectly. And yeah, you can see now we can just extrude it like this and connect them to create our chair, and it would be really easy. All right. So with this out of the way, let's just work on it a little bit more, you can press N to bring this sidebar view up so that we can actually see the dimensions of the chair. I will select it, press S, then X and scale it up like this, and I will be giving it dimensions something like this. Which I think is pretty good. Then press Tab, press A to select everything, and now press E to extrude it a little bit to give the chair legs a bit of thickness. Make sure to press Control A, apply the scale, right click and let's share how to smooth this, maybe a little bit more. And also, what you can do is you can also go over here in the edit mode and enable edge length, which will help you to see the length of any of the edges that you select. This way, you can adjust them. If you have decided on some dimensions, you can decrease this if you feel like it is a bit too much. All right. I think this much is pretty good. I will just disable back the edge length so that we don't have to see it again and again. And what we need to do is the chair legs are fine like this and we need to connect the upper part now. If you see in the reference image, over here, we have something like this only, but over here, the part is completely connected. So we need to connect the top part, so we can do something like this, press tab, and let's see. We have one edge right over here, so you can select this and select this, press J to join them together, and then select this and this press J to join them together so that we have a pace like this, and then we can just press E and extrude it and connect them both in the middle. Make sure to enable clipping for this enable clipping. And first, press X and delete the pace so that we don't have a face in between. And now you can just hold on, select this loop and press G the next and join them both in the center perfectly like this. Yeah, now it is matching with the reference image a lot better. Let's add in something like a Bevel modifier. Let's move this smooth bi angle to the top. And now chair is starting to look pretty good. I think personally, I do want to increase the thickness of these legs right over here a little bit more, so I will just press tab and then we can press seven for top you enable X ray, and just select this part right over here like this. Carefully just select this part so that we can adjust the thickness like this. I will also enable edge length from over here so that I can actually see somewhere around here maybe. Yeah, I think this feels pretty good to me a lot better than before. So let's just disable edge length now and continue working. Press three for the right side view, and next we can create the seat. So let's select this press shift pcess further to select it, press Shift A, and let's add in a cube. Let's create the bottom part of the seat first, press tab enable Xray again and just bring it out right over here and bring this back till here. I think this is fine. Then let's just increase the scale of it on the X axis. Selected press control apply the scale, and first let's work on the top seat, and then we can edit it out a little bit more. So press shift A, add in another cube again scale it down. Or I think it would be better to just select this one only, and then we can press Shift plus D and duplicate it and move it right over here. Let's enable Xray and try creating this one. First, let's move it down and move it up till here. Then we can press Control R, add a bunch of edge loops, one right over here. Let's move this part down. Let's add one over here. And again, move this bit more down. So I'm just doing basic manipulation. I'll select this part and move it up. Make sure you have enabled X ray for this so that you select all of the word sees that are behind as well. And then what we can do is maybe we can first add in something like a subdivision surface modifier to smoothen it out. Make sure to apply the scale and shade smooth this. And let's add in two divisions of subdivision surface. Let's add in something like a Bewl modifier as well and move it above the subdivision surface so that we get a bit more form on our like the seat. Add the bevel modifier before the subdivision, press tab and let's edit it out a little bit more. Let's see. First, I will select this part, and then you can just press Control plus B to bevel it out like this, give it a couple of segments and smoothen it out this way. Yeah, I think pretty good. We get a little bit of shading issues right over here, but don't worry, we can fix them easily. Give the Bel two segments, and yeah that pretty much fixes our issues. I press G twice and then just slide them across like this to make it a little bit smoother. We do see a little bit of shading issue, so we can just select this phase, select all of them. Make sure to select this side as well. And then just press I and insert them like this. Let's insert them till here, and then we can manually fix this shading issue. Yeah, perfect. As you can see now we don't really see any other shading issues up here. Let's fix it right over here as well. So just move them down and move this one up. All right. With this, I think our seed is also looking pretty good. Maybe we can select any of the back edges and then just bevel them out like this. If you want to make it a little bit smoother. That's totally up to you. I will decrease the thickness of this just a little bit, make sure to press control apply the scale. And yeah, that's pretty good. Oh let's set the segments to one only because we have now fixed the issue that we had earlier. If you want, you can disable clamp overlap and adjust the bevel amount on your own. Like how much you want to add it, as you can see. Just make sure you don't add it too much where the things start to overlap with each other. But I think the seed is looking pretty good this way. Let's edit out this part as well now. So select this and let's add in a bevel modifier first, apply the scale, adjust the bevel amount, Enable harder normals. Again, I will just smoothen out this bottom part like this. Just for design purposes, obviously, and we can select maybe this as well and smoothen it out. Make sure to move this at the top, because as you can see, we get shading issues. So just move the smooth Bangle to top. And yeah, now they are fixed. I think with this, the chair is starting to look pretty good. Let's add in this part, so the chair arms, add in a cube, enable Xray, press tab, and let's move this right over here and move this right over here. Then we can select the top part and move like this and this one can go over here. Pretty simple. Press seven for top view, and let's bring it out. Right over here like this. And then we can once again add in a mirror modifier. To obviously mirror it on the other side as well. So now we can either adjust the origin point of it or we can directly use the mirror object and select the seat or maybe the chair, and then it will be mirrored perfectly. Press control apply the scale, Stab to go into the edit mode, I will enable edge length, and I just want to see. Yeah, I think 0.15 meters is fine. So now press press control R, add edge loop in the middle like this roughly. And first, we can able X ray press one, select this press Control B and bevel it out. To give it the smoothened out shape. Let's disable edge length. And then what I will do is to give it a bit more design. You can press Control R, add edge loop over here. Let's select this edge to press two and select this edge, press G, then X, and move it in completely like this. It will make it look something like this, and now we can just hold on, select this op completely, and press Control B and bevel it out while giving it a lot of segments, and it will smoothen the edge out like this, giving it like this kind of shape, which I think kind looks pretty good. Sorry, let's press G twice and slide it a little bit ahead. And with this, I think we get a really nice look on our chair arms as well. Let's add in a bevel modifier, move this to the top, just the bevel amount. And yeah, pretty good. The chair is looking nice. And let's create the last part that are these legs. So maybe I can just select any of the objects, press tab. Let's select any of the word Cs, and then you can just press Shift plus D and now press P and separate the selection. And the reason I did that is because this object already has the mirror modifier, so it will be automatically added over here as well, and we don't have to set it up. So I can just select this word C. Let's move it over here and start extruding it out. We can go into the wireframe more so that we can see the image clearly, like the reference image, and now just phrase it out quickly. So for this one, while you are extruding it out, what I would suggest you guys is to make sure that you keep the number of word Cs, same on both the sides because we will be connecting them both. And the reason for that is earlier we were not really connecting any of the word Cs over here like that because we weren't using the subdivision surface modifier, but we will be using the subdivision surface modifier for this. And for that modifier to work perfectly, we need to have all quad topology. Otherwise, it does not really work and gives us a lot of issues. So yeah, just make sure you are having equal number of vertices on both sides. As you can see, I have kept Same word sees on both sides like this. So I just make sure to do that. Yeah, now that I have done this, I can press F over here and start pressing F again and again. So that you can just fill them out like this. You can just keep on pressing F and it will fill it out automatically completely. We just show you once again, you just need to select these two edges press F and then keep on pressing F again and again. It will fill out all the faces automatically like this. With this, now if you add in something like a mirror modifier or a subdivision surface modifier, you can see it works perfectly giving us smoothness. Just along these top and bottom parts, you can add in one edge loop over here and one over here to tighten it. Let's move it in. And what we want to do is if you will see it's kind of connected over here, but we will just make it go past over here and we will just overlap it a little bit to keep things like simple. So press tab and let's select these two edges, and you can enable proportional editing, which will help us to move all of them like smoothly. You can see. Proportional editing is basically whatever you select and you move it around. We have this circle that we can control through the scroll wheel and whatever is in this circle part will be affected whenever you are moving, scaling or rotating things around. So if you want more parts of the geometry to be affected, you can increase the size of the circle and you can see now the whole model is moving. But we just want a small parts to just decrease it, and now you can press G, the next and move it back like this. With this, we kind of get overall smooth look and we don't have to do too much effort, obviously. I'll move the top part as well. And create something like this. Right click and shade or to smooth this, and now you can just add in something like a solidifier modifier, increase the thickness on this. And you might notice that we are getting a couple of shading issues. So first, let's just move it above the subdivision surface, or I think we should move it above the bevel modifier as well. Yeah, I think this gives us the best results. You can also add in the edge loop right over here like this if you want to tighten out these edges as well. But with this, I think the chair legs are looking pretty good. I'll move them in a little bit more, and let's just hit Save and I think our rocking chair has turned out pretty nice. I'm liking the overall look of this. So I'll select it all, press Shift press further to select it, and then you can press Shift A and add in an empty object, so add in a plain axis. And then once again, select everything and make sure to select the empty object at last like this and then hit right click parent and object. And with this, we have connected the chair to this empty so that we can easily move it around. Select it all, press M and move this to a new collection and rename this to rocking chair. A yeah, basically, we are done. With this, we can just finish up with this lecture, and in the next lecture, we'll just quickly start by placing our chair and then creating the next assets. So thank you guys for watching. I will see you in the next one. 8. Modelling the Fan: Hello, and welcome, guys. So let's continue working on our environment. And first, we can start by scaling down the size of our chair, and then we can just start working on some more props. So I'll select press three for the right side view, and let's place it right over here. I think we need to scale it down a lot. So I'm going for a height of around 0.9 meters. I think that much would be fine for a chair. So yeah, somewhere around here. We can select the empty object and just move around the chair using that. I'll just roughly place it somewhere around here for now, and then we can later fine tune the position and the composition according to our shot. So yeah, that's fine. I think. I'll select the image now, press and move to the reference images collection. Let's press three once again, press Shift and start by adding in another reference image and go into our project. Let's see. I will be adding this one, the fan on the table. So let's create these two things next. So we'll start with the fan. It's pretty simple. We can press Shift A and add in a cube. Scale this cube down and let's place it right over here like this. First, let's scale it down to match with the reference image this way. And then you can press SN Z, scale it up like this. Make sure to press Control A and apply the scale. Then you can press tab, and now we can kind of start to edit out some other things. Make sure to turn off proportional editing. We don't need it now, so just turn it off. Let's move it up, press E, and scale it up like this. Yeah, pretty basic. Let's select this part, and then we can press E and extrude it like this and then press E once again. I will select this image and press G then X and move it back right over here. Let's select our object and add in a mirror modifier to this. Sorry, not a mirror modifier, but a bevel modifier to smoothen the edges out. Something like this and make sure to enable hard noms. Press tab and hold all and select this loop and then hold Shift and aught, and then select this one. Then you can just press Control and bevel it out like this. Yeah, I think this looks pretty good. Right click and shade How to smooth this. We do see like a couple of shading issues here and there. So let's try adjusting them by playing around with the bevel value. Make sure to move the smooth bi angle to the top. And that fixes, most of our issues. Next, we can add in something like a weighted novel modifier. We do get a couple of issues right over here. I will press G two times on this edge to slide it across like this. And now, as you can see that fix the issues. Basically, these issues can appear when the edges are too close to each other causing some kind of overlap. You can also select this pace, maybe press I to insert this to add, a couple of supporting loops. And yeah, now I think the object looks pretty good. Let's press three once again and continue. I will select this now, press Shift plus S then cursor to select it to bring the cursor right over here so that you can directly add in our new objects, and they get added exactly in the center of the fan. Scale it down until here. Obviously, we need to scale it up like this. I will also just select these two and then select the image, press slash to go into the local mode so that we can work a bit more freely. All right, let's select this press S then Y as the next story and scale it up like this. But then we can press tab, enable X ray, and then just move it right over here and over here as well. Maybe a little bit more on the axis, select press controller, apply the scale. Let's see. We can maybe first add in a bevel modifier obviously, apply the scale and adjust the bevel amount. Shade out to smooth this and move the smooth Bangle modifier to the top. Now, I'll press tab, select these two edges once again, and then just press Control plus B to bevel it out to give it like this kind of shape. You can look over in the reference images as well. It is not quite visible, but the shape is kind of like smoothened out along the front edges. The back ones are pretty sharp, but the front ones are like smoothened out like this. So yeah, I'm kind of trying to create that similar look. The fan is not really visible properly, but yeah, we can work with this for sure. And obviously, we don't have to create everything exactly same as the reference as well. We can add in our own touch as well to the things. Let's move this down a little bit, then press E to extrude it. Enable X ray. Yeah, that's pretty good. I will just press tab, select this edge, press Control B, and bevel it out like this. I think this shape looks pretty good for the base of the fan. So let's continue upwards and then create this part. So for this, basically, again, press shift A and add in a single word only because we need to just trace out the shape. And if you remember, if you don't find this single word option in your shift plus a menu, you just need to enable the extra mesh and extra curve objects add on from the preferences. I've already shared about this. I'll go here. And start facing all the ship. Let's bring this down to here, select them both. And now I want to make sure they are both in the same line. First you can select them both and press F, then you can select them, press S and Z and type in zero. This will flatten them out like this. Basically, if let's say it was something like this and you wanted to make them both the same height, you can just select them both press S and Z and type in zero. This will flatten them out on the Z axis. So yeah, now we have created this shape. You can basically press F to fill it out. Let's press E and extrude it somewhere around here, I think. Now you can go to object, set origin, origin to geometry. And now, basically what I want is I want this object to be exactly in the center of this our fan model. So select this, press Shift plus, cursor to select it, and then select this one, press Shift plus, then selection two cursor. This will bring it exactly in the center like this. Perfect. Right click and shade or smooth this and let's move it up a little bit and move it back like this. Now you can press tab and select the bottom face, and then just press I to instead and then move it down, and then press E to extrude once again. Let's add in a pebble modifier and move this modifier to the top, the smooth bigle one. Enable harden novels. Yeah, I think we are good to go. Yeah, that's fine. Let's select this part now, press shift process, then again, cursor to select it. We bring the cursor right over here so that we can add this cube. Let's move it right over here, press tab, enable X ray. Now just scale it down on the x axis like this. Also we need to create this little thing. So again, add in another cylinder, scale this down, and rotate it by 90 degrees. It's pretty simple. Just make sure to have it poke through through both the sides, and then we can just press tab, press control, add He loop right in the middle. So hit right click to add it in the middle and delete this other side so that we can now add in something like a mirror modifier. Set it on the Z axis, and that works. Let's select this phase. And first, we need to just inset this. Is it one more, just a little bit, and then just move it backwards like this and now scale it down. Yeah, I think this is fine. I will add in a bevel modifier and just adjust the bevel amount. Yeah, this is pretty good. Let's select this part only pressure plus D and Z, lock on the z axis and move it up, enable X ray and first move it down, bring it back, and just match with this shape of the reference image. Something like this. I do want to make it a bit thicker like this. So if you see in the reference image as well, we have this kind of shape. So yeah, I think we are doing fine over here. I will select it press Control and apply the scale. And now just finally we can add in a cylinder rotated by 90 degrees, enable X ray, and scale it down. Just match it with the reference image over here. Press tab and select this part, move it back, scale it down according to the reference image. We can add in edge loop right in the middle over here and just scale it up a little bit in the middle. Right trick and shade or to smooth this. If you want to select it press Control B and bevel it out as well so that it feels gradual. And then let's add in a bevel modifier, apply the scale, and now just adjust it. And I think we need to create this backside part. So let's see. For this one, I think I will just smooth it back first till here. Press I to inset. E to extrude it inwards. Then press I once again and let's just bring it out like this. Let's suggest the bibleon because I think it's a bit too much right now. You can hold t and select this loop and then select this one as well. Hold Shift and At and select them both. And now you can press S then Shift plus Y to scale it on the red pin like this, something like this. Then just select this one, move it back. Press S then shift plus Y and scale it up like this. I will select this now press Control plus B to give it that smooth edge. And now I think our fan looks pretty good. From the back side as well, I will select these two, and then press Control plus J to join them and we can add in something like a bevel modifier just the bevel amount. Press tab and select these two edges and maybe just press Control B on them as well. Make them smooth like this. Smooth this up. Yeah, I think everything is coming along pretty nicely. We just need to create this part and the fan as well, which is surprisingly easy. So yeah, let's just select this, go to object, set origin and origin to geometry, and then press Shift plus S because it to select it so that it gets added exactly in the center. You can add in a cylinder and just make sure to open up this part right over here and set the word Cs to 16 because we need to create this wireframe like pattern. So that's why we don't need too much geometry for that. So just decrease the word Cs to 16. Press R, then Y rotated by 90 degrees, enable X ray and move it out. First, scale it down like this. Press tab, select this part and move it in the Y axis, and select this part, move it in like this as well. Now it's pretty simple. You just need to select it, press E, and extrude it till here to match, and then scale it down. Again, press E to extrude it till here, and scale it down. Select this part, press E, and move it down like this. Then just give it a couple more extrusions and scale them down. You have something like this. What I will do is I will also create a few more edge loops on the back side like this, select this part, press I to inset, and then press I once again to insert it like this. And then maybe select the front face as well and then press I once again to insert it this way. And now it gives us a pretty good fan shape. So now the super easy step to just create it into this mesh like pattern, you can just click on Add Modifier and add something like a wireframe. Search for wireframe and add it. And yeah, now you can see how easily we have created the mesh like pattern of the fan. Selected and apply the scale. Maybe something like 0.015 would be fine. We can always adjust that later on as well. And now you must have noticed that why I was trying to create less geometry because let's say if we have a lot of geometry, you can see it will show up in our wireframe as well. But yeah, obviously, if that was the look that you were going for, you should totally do that as well. But I will be going with this type of look. And yeah, I'm happy with how the fan is looking. Let's create the actual fan blades now. Also just select this part, press shift process again and add in a cylinder, scale this down, rotate it by 90 degrees and scale it up. Press tab now, and I will just select this pace, press X and delete the pace, and then just select this backface as well and press X and delete the phase. So that we are only left with this strip, and now we can just add a solidify modifier and give it thickness. And personally, I think I will also add in a subdivision surface as well to make it smooth. Just give it two segments and scale it up. Yeah, that's pretty good. All right. So to create the actual fan blades, it's really simple. You start by adding in a plane. So just add in a plane, rotated by 90 degrees the Y axis. And now we actually don't have to trace out the entire shape because then we won't be able to, like, kind of deform it to give it like the curved shape on the fan. So instead, what I will do is I will simply directly add a subdivision surface modifier and we get something like this, give it like three levels on the viewboard and the render as well to add, like a lot of geometry, press control R and add one edge loop over here in the middle. And now we can just move this part. Now just press one for Word C select and select every individual word C and just adjust them according to the shape of the fan, you will see how easily we can create this shape just by using a couple of Word Cs. As you can see, we have pretty much created the exact shape of the reference image just by using some words Cs and a subdivision surface modifier. Obviously, when we apply the modifier, we will get a lot more geometry in our shape, but we don't really have to apply it right now. We can just keep it in the modifier stack only like this because we don't really need to use that much of the geometry. I think we are done with the fan shape now, and I will now next add in something like a solidify modifier. To obviously give it a bit of thickness, and then we can add in a bevel modifier. Shade or to smooth this and just move this to the top. Enable hard normals over here. And yeah, our fan shape is pretty much created. Now the last part to do is to, as you can see, it is a bit more curved like this. So we can do that by just selecting it and adding in a modifier called the simple deform. We can add the simple deform and you will get this type of twisting. So make sure to select twist only. We need that, and you can change the amount by adjusting the angle. So how much twist do we want in our fan plate? And you can also change the axis we want it on. So it's definitely not z, either X or either Y. And that is totally up to personal preference. I think I will go with the X shape. Oh, no, I think this shape looks better. I'll just go with this. It does not really matter that much. You can set the angle to something like 20. And I think our fan Blade. And I think our fan blades look pretty good. All right. So to create rest of them, press three, and let's start in by adding in a cylinder. Press R then Y, type in 90 and rotate it on the Y axis by 90 degrees, move it right over here, nab X ray and just place it exactly in the center. And now you can just select this part like this cylinder pressure plus cursor to select it so that we get the three D cursor in the center of the fan so that we can easily duplicate them around this point. And first, I will select this. Right click, Shade O to smooth this, add in a bevel modifier, apply the scale. We bevel this out as well. Yeah, this is fine. Now you select your fan blade, press tab, press A to select everything, and you can press T to bring out this toolbar menu and select the spin tool. Now press N to bring out this sidebar and go under the tool section and select the X axis so that you can spin it around the three D cosm. Now when you spin it around like this, you can see we have duplicated the fan shape. Obviously, it looks pretty weird. So open up this section. And first, we need to select use duplicates so that each and every fan is like a separate one and set the steps to something like four. Or maybe three, I think. Yeah. And now we can set the angle to 360, increase the step to four. And yeah, now you can see it's perfect. Basically, the use duplicate command, what this will do is if you enable it back on, sorry, disable it, you can see all the fans are now kind of connected. But if you enable it, they are all now separate objects. So that's why it is the use duplicates command. Set it to four and set the angle to 360 and we have easily created our fan. One thing that you have to make sure that you remember is whenever you use the use duplicates in the spin tool, you will notice that you get duplicate word Cs. As you can see, this fan has a duplicate word Cs. So make sure to just select it all after you have done your operation, select it all press A, then press M and select merge by distance. You will see remove six word Cs. Basically, it will remove all of the like duplicate word Cs. And yeah, now we don't have to worry about anything. We can select this, press, then Z, type in 90. Move it back right over here. Let's press Control plus one to view it from this side and just move it down. Press three noble back. Yeah, pretty happy with how the fan is looking. I will select this part, press Shift pluses further to select it, and then just add in another cylinder, scale this down. By 90 degrees, again, scale it down and just bring it right over here and scale it up till this part. Cannot really see our cylinder over here, so just bring it back. Now it's fine. Right click, Shade Smooth this and it's safe on our files obviously. With this, our fan is basically done. We also have a couple of buttons right over here, add a cue, scale this down. Move it right over here and add in something like array modifier to search for array and just adjust the factor and duplicate it a couple of times. Like, these can be like the different speeds and you turn it on and off or like the different modes. And yeah, that's pretty good. Apply the scale. Let's add in a Bbel modifier to this as well. Adjust it And with this, our file is also basically done. Let's save on our files, and this is now a pretty long lecture, so I will continue from here on out in the next one. Thank you guys for watching. 9. Creating the Table: Hello, Ann. Welcome, guys. So now that we are done with our fan, we can next start to work on the table. But first, let's just select all of the fan, and then you can again shift process cause you to select it, press Shift A, and let's add in an empty object, and then we can just again select it all. So make sure to only select the fan and then at last select your empty object, right click and parent and select Object. All right. Next, I think we can start to work on the table. Okay, first, I will just again select it all and press and move this to a new collection and rename this two table fan. Or I think just a simple fan. Yeah. All right. Press three for the right side, you select this plus shift, and let's add in a. Let's scale this down and scale it up like this. Enable Xray and just adjust it according to the reference image. Yeah, pretty simple. And now for the scale like this, I think we can go with somewhere around here, so around 3.5 meters. Obviously, we will scale all of this down overall according to the environment, but I think the dimensions feel fine for the table right now. So creating this is fairly simple. Let's just select this part, press shift process because it's selected once again, and then we can shift a add in a queue. Let's move it right over here. Press tab, select this part, remove it over here, press Control R, and add edge loop right about here. And then again, you can press E and extrude til here, and then just select the top word C and adjust it according to the reference image. Let's bring this down. Y, pretty simple. Let's scale it down this way as well and move it to the edge of the table. And then we can just select it and add in a mirror modifier and make sure to select the table, go to object, set origin, origin to geometry. And yeah, it is already there. Now we can select the mirror object as this table. It is copied up over here so we can set it on the Y axis as well. Yeah, and then we get something like this. I think this is pretty good. I will add in a bevel modifier to both the table as well as this section of the wood that we have created. Make sure to apply the scale once again and adjust it like this. We are pretty good. Let's create the table legs, as well. Again, pretty easy to do. I will just add in a plane to start off, scale it down, and let's place it right about here. Press tab and scale it down according to the table legs. And what I will do is I will just first move it right over here, and I will select these two word Cs, press M and merge them at the center to create something like this, like this triangular shape. And now we can press tab, press E to extrude it out like this, and now just adjust it according to the reference image. Again, press E and adjust the word C like this. Place this over here and this over here like this. And we get our triangular shaped table legs. Let's move it up. Make sure to go overhead to object set origin and origin to geometry. And I will just press S and X and scale it up a little bit like this. Press tab, select this top face, and just press key to extrude it to the top like this. Again, we can add in a mirror modifier and select the table as the mirror object and copy it up on all four sides like this. Next thing to do is to, let's just simply add in a shade smooth modifier or sorry, a subdivision surface modifier, and then we can press tab, add in a couple of edge loops. Here as well. And our table legs are created. I think everything looks pretty good. And now I will just press Shift A ad in empty object once again. Let's move it up right over here, and select all of your table and then select the empty object, right click and parent it to object. I will press M and move this to a new collection rename this two table. Alright, guys, with this table and the fan is basically done, I will be creating the props as well, obviously, but we will do that later on. I think right now, I just want to create, all of the major props in the scene, and then all of the smaller props will come at a later on stage when we are actually done with building out the main layout of the scene. So yeah, we'll worry about the smaller props later on. I will select this in press and move this to the reference images collection just for now. All right guys. So now let's place both our assets that we have just created into the scene. So I'll select the table first, move it right over here, and you can just scale it down. A lot, actually, somewhere around here, I think. Let's move it down on the floor. Let's move it back. And if you look over in the reference image as well, we have the table, the fan, and then the chair right over here, so we have to create some sort of like this composition right now, we can just place them around roughly, but yeah, later on, we will be creating an accurate composition. But yeah, let's just place them around roughly right now. I will select the table fan now and move it right over here. Let's press three for the right side view so that we can actually see. So we can kind of see the fan is obviously going to be smaller than the chair. Let's see. So I think somewhere around here would be good. This feels pretty good to me. We can also just press R then z and kind of rotate it on the axis like this. It is something like this. I'll select the chair and maybe move it a bit back and over here. Yeah, that feels right right now. So let's just hit save. And with this, we are starting to get the general sense of the room. In the upcoming lectures, we can start working on things like the light over here. We can also create the blanket. And yeah, we have a couple more props. Obviously, there is the boom box, which is the kind of main one and a little bit more detail. So yeah, we'll be creating these props, and then after that, we can start working on a little bit of the smaller props like we have the Talendar and these things over here, then we have a couple of props over here, some books over here. So yeah, we will be creating those as well. And with that, yeah, I think, guys, this much is it for this lecture. Thank you for watching. I will see you in the next one. 10. Modelling the Boombox: Hello, and welcome, guys, let's continue working on our environment. And if you will look over in the reference images, we do have a couple of big props left. So that is the boom box. Then we have a blanket over here, and we have a cushion as well. And the rest of the props are kind of the smaller props. So let's start by working on the boombox, and then we can add on more props as well later on. Alright. So what I will do is, let's press three for the right side view, press Shift plus A and go into image reference, and we can select our reference image. Et's select the boom box, and creating this is going to be fairly simple. I will press ash to go into the local mode so that I can work a bit more freely, press Shift A, and let's start by adding in a cue. Nable X ray, press tab, press Control R, and add edge loop right in the middle. So hit right click and now press one, select the right side, and now just delete it. Delete the word C, and then we can just duplicate it by the mirror modifier. Set it on the Y axis, and now we need to bring this down first and bring it right over here. Now just roughly create the shape of the boombox as we are going to add the subdivision surface modifier, so it will smoothen out itself, so you don't have to create it exactly like very smooth as well. So you can just do it kind of in a very rough way. I stab, once again, just select it and do it one more time like this. We have our boom box created. What I will do is you can see a little bit of space is left over here. So just press G then Y and move it to the right like this, and then you can press S and Y to scale it up and then just match it on both the ends like this. Next, what we can do is first, let's just select it, press S the X, scale it down this way. We don't want it to be too wide. I think this feels good enough. Right click and shade how to smooth this, and let's start by adding in a subdivision surface modifier. Let's give it a couple of levels I don't know, maybe three is good. Then we can add in two edge loops to kind of support the shape, then one over here and one over here. You can also just select the loops to hold all and select them, and then let's say I move them far away to make the edge over here a lot more smoother, as you can see, like this. Maybe I'll place it somewhere around here. I think this is fine. And now we have the basic shape of our boom box. So let's start adding in a bit more details. So the way we are going to create all of these sections is that I'm going to use the Boolean modifier because that will give us the easiest way to create them. So first, what I want you to make sure is to go into edit preferences and search for the Bool tool add on. So make sure Bool tool is enabled. So just enable it from over here. When that is enabled, we can use, some of the shortcuts directly, and we don't have to do, too many steps with the Boolean modifier. If you don't find it over here, you will get it over here, maybe, yeah. So just search it in the Gate extension section and just make sure to install it and enable it in blender. When you have done that, you can let's say, I want to create this section over here in my cube or sorry, in my boom box. So I'll start by pressing in Shift A and add a cube first. But before you do anything, make sure to just select your boom box and just go over here and we will apply the mirror modifier. So the reason we are doing that is because right now we just have half of it. So if you use something like a boolean modifier, it can mess up with the mirror modifier. So I think it is best to just apply it first. So just apply it right now. And now we have the entire boom box, and now we can use the boolean modifiers freely. So let's bring this cube down, and now let's just place it according to the reference image. And make sure it is something like this. It is overlapping it on both sides to make sure to scale it up. And now there are a couple of different boolean operations. So if you select the first and then select your main boombox and then press Control plus minus, you will see the boolean modifier is added automatically, and then we can create this cutout which we can move around freely to create any kind of complex shape on our boolean. But this is not what we want. We basically want like a cutout created right over here, so let's undo it. So instead of the difference operation, we want to use the intersect. So using the intersect operation of the Boolean modifier is kind of tedious and kind of confusing as well, because you have to select both of the objects and then add the Boolean modifier and do all of those steps. But with the Bolt add on, it will be made really quick. So you can just select this, then select this, press Control plus slash on your number bat like this. And you will see we have created this cutout in our boom box. But now to make it look a little bit better, we can do a couple of steps. The first thing to do is to just select your subdivision surface modifier, go over here and add in a bevel modifier. Make sure to move the bevel below your Boleon. So the boolean should be over here, not above the subdivision as well, in between the subdivision and the bevel. This will give you the best results. And now make sure to select this as well and then add in a bevel modifier over here. This will kind of make like this partition, which looks pretty good. And the next thing to do is to obviously improve the shading that we can see over here in the corners. So make sure to enable hardened normals. And yeah, that will fix. Over here as well. And now you can see we get these really nice edges, and we have created this cutout onto our boom box. So the intersect modifier is really nice as it can help you create these nice designs. It is also really helpful when you are creating something like Sci Fi designs because you have to do, like, a lot of these panel type of designs. So yeah, now using the same concept, we can just create the rest of the stuff as well. So press Shift, add in a cube, move it right over here. Scale it in, so press STN, scale it till here like this. Just match it with these two points like this, so just move it over here. And yeah now press tab, select the top part, and press STV, scale it up like this. Now with this created, you can first make sure to just apply the scale. And then select this, then select this press control plus minus. And we have created something like this. All right, guys. So now the intersect operation is done, and you will notice that we have run into a small issue that I also overlooked. So what we have to do is basically we have to undo it because I think it is a better practice to create the bigger object first, and then we can use the intersect operation later on on that. So I will undo it all. Sorry about this, so I'll just quickly undo it. And instead now what I will do is I will use this Enable Xray. And instead of creating this smaller shape first, we will create the bigger shape first, and you will understand the reason for it really quickly. It would be really easier this way. So I'll just do this. Scale it up till here. He daughter smooth select this and then select this now press Control plus slash to create the intersection, and now just quickly add in the bevel modifier, enable harder normals, and do it over here as well. Add the bevel and enable hardened normals. Now all of the things remain the same as you can see. The Pollan modifier stays in between the subdivision and the bevel in both of the areas. Now, the good part about this is because we have created the bigger intersection first, now we can just add in the smaller cube and we can easily use the intersect operation. Not on the boom box. So this time, do not select the boom box, but instead select this cube and then select this object right over here, and then you can press Control plus slash once again. And now you can see the intersect operation works perfectly. So again, select this. Make sure to drag it and move it above the bevel modifier and then select this as well and move the bevel modifier above the boolean. And then move the Boolean modifier above the bevel like this. Now we get much better results. Make sure to apply the scale for all of them. All right. Now to create this piece, again, add in a cue, move it down, scale it up, scale it down till here, press tab, and again, bring this down over here. Now we can just apply the scale first. Press tab, select this edge, select this edge, and then we can maybe just bevel them out to smoothen them out like this. Perfect. Shade out of smooth this, select this, select this cube, and then select this one, then press Control plus slash. Now, again, after always using the Boolean modifier just quickly, adjust it by moving it above the bevel modifier like this. Alright, so let's just continue now. What I will do is I will select our boom box and just turn down the levels of the subdivision surface modify it to two because as you can see, it does improve our bebels a lot because it adds a lot less geometry now. Just make sure to select all of them and turn down the subdivision levels to two. I think for this one, three is fine because it messes up a lot if I set it to two. Let's keep them three for these ones. Yeah, I think this one is fine at two. And I think now the bebels look a lot more nicer to me. Alright, so let's continue. So now we have to create this shape. So let's just press Shift tape and simply add in a plane, rotate this plane on the y axis by 90 degrees and just move it right over here. So very simple, you just select all of the other wordss and let's just delete them so that we can easily extrude this out like this. Again, I'll just quickly select it all and trace the reference image Now, when you are done, you can just select both of these verses at the endpoints, and then just select them both and press F to connect them. Also add in a mirror modifier so that the right side is done automatically, and we can select the boombox object for mirroring it. Let's select the Y axis. Let's select it first, sorry. Where is it? Okay, over here, just select it and bring it out. Press alt plus H to bring the hidden objects back. And here. Now the mirror modifier is working correctly. Let's press tab, press A, press F to fill it out, and I will just press E to extrude it backwards like this. And what I will do is, as you can see, like in the reference image, I don't think you can see it quite clearly, but I do want to make the area a little bit curved. I do not want to make it completely flat. So just select this backface and then press Control plus B to bevel it out like this. Make sure to not be it too much. I think this much is pretty good. So this way, we get a really smooth background and just duplicate it now, suppress Shift plus D and bring it out and now select this, move it back. Select your cutout and select the boom box, then press Control plus minus this time to create the difference operation. So not the intersect operation, but the difference operation this time because we want to create the whole. Make sure to select it and move it above the Bevel modifier. And yeah, now the reason I duplicated them is because we also need something to fit in within these speakers like this. But instead just select this S and Y or sorry, S and X and type in minus one to flip them like this. Move them in, let's scale them up a bit. Move them back, press, then X, and squish them in like this so that they appear a little bit more flatter or something like this. I think this looks pretty good. And now we have roughly created the shape of the boom box. Now we just need to add a couple of buttons and the handle. So press Shift, add in a cube, scale this cube down, and let's place it right over here. I'll press tab, and maybe what we can do is, first, let's bring it out. Let's select the top part prese to extrude it like this. Now, just move it up like this to create a switch kind of thing. Let's add in a Bbel modifier to it and apply the scale, adjust the beviel amount, and enable harder novels. Yeah, pretty good. Let's simply add in something like an array modifier now and set the X factor to zero and instead set the Y to one, I think. And now we can just easily duplicate. I don't think it is visible. So instead, let's just go into the wire frame where it is a little bit better visible. Something like this and duplicate them till here. Perfect. Let's just select it, place it right over here as well, and now just decrease the count till here. Press shift plus cursor to select it so that we can bring the cursor around this point, press shift A and add in a cylinder. Rotate this by 90 degrees and place it right over here. Let's scale it up a bit. Right click shade order smooth, scale this down, apply the scale, press tab, select this, press E to inset the face and extrude it a little bit. Again, press E to insert it once again, and then just extrude it out like this. Maybe we can bevel the top a little bit. I will just decrease the size of this press tab and enable Xray. Let's press seven for top you and just select this part. And let's just move it a little bit in. I think it looks pretty good to me. So I'll just duplicate it now over here. So yeah, again, press Shift plus D, then press Y and place it over here. With this, our boombox is basically done. Let's just add the last thing that is our handle. So let's add in a plane. Let's delete the right side. So first, press Control R, hit right click and just delete this side, add in a mirror modifier on the Y axis. Let's just first decrease the size of it like this. Now we can roughly place it in the middle around here, press tab and just try to extrude it. Make sure you enable this as well. This way you can see the right side of the mirror modifier as well so that we can place it kind of correctly. Now when you extrude it like this, we can see that it is not fitting perfectly, so just move it to the right like this and then just press SN Y and scale it up. This way we can easily fix that. And I think this is pretty good. Now what we do is we can just simply add in something like a solidify modifier and just give it thickness. Next, you add in something like a subdivision surface modifier, you obviously give it smoothness. Let's give it two levels, maybe press tab, add one edge loop over here over here, and maybe a couple over here and over here as well. Okay. So yeah, the mirror modifier was added, so we don't need to add it on both sides. Shade or smooth this, move this to the top. And with this, our handle is also perfectly done. So what I will do is I will select it all, select these things, press Shift plus c to select it, and let's add an empty object. Let's move it to the top, scale it up a bit. Now select the rest of the remaining items. Right click parent and Select Object. This way we have created this empty object that is the parent of all of these smaller objects so that we can easily move the boombox around. We don't have to select all of these extra objects as well. I will select this, press M and move this to the where reference images collection, and all of this, again, press and move this to the boombox collection. And with this boombox we also done. Let's just sit save, press slash to come out of the local mode. Let's select this, scale it down. For now, let's just roughly place it over here. Move it back. I think the size of it is still a little bit too big, so let's just scale it down, something like this. Maybe rotate it up a bit like this. Yeah, it looks pretty good. Maybe a tad bit still too big, scale it down again. Yeah, I think now it feels pretty good to me. So let's just say with this, another one of our major props is done. Let's try creating, like, something like the blankets and the pillow that we have over here on the table and some of these smaller props in the next video. So thank you guys for watching. I will see you in the next one. 11. Creating the Tatami Mats and Ceiling Light: Hello, and welcome, guys. So let's continue working on our environment. And now that we are done with, like, most of the major props, we can start working on some of the smaller props. So I think we can start by creating the light that we have over here on the top of our room. Also, we have a bunch of utensils that are placed on the table. So, yeah, we do have a couple of rocks left. So yeah, let's work on them. First, what I will do is, if you look over here on the roof, we do have a wooden frame on the roof as well. What I will do is I will just select the stop face. So select our room, press tab, and just select the stop face. So select all of these faces. Press Shift plus D to duplicate, press to lock on the Z axis, bring it down a little bit. And then you can press P and separate the selection so that it is like a completely separate object. I will just select this and I will select all of these phases, and I will just press X and delete them because we don't really need them, so I will just delete any extra geometry. What I will do is now I'll press tab and select all of them and press F so that all of them are like a single phase only. Right now, you can see we have all these edge loops added. So just press F to fill it out into a single phase. Press slash to go into the local mode. And if you will press one, now you will see that all of these extra vert Cs are left from the earlier edge loops. So just quickly select them all on the left and the right side. Press X, and instead of deleting them, just select dissolved vert Cs so that they all get deleted without deleting the edge. So now we have only four vertices and a single phase. Press slash to come back to your normal mode, and then you can press Control A, apply scale, press tab, and I'll just extrude it upwards like this. And then press tab, again, press three for face select, select this face, and press I. Inside this, it's inside this still here to create this sort of wooden frame and then just extrude it inwards. I'm not really going to add, all of these extra wooden beams. I'll just keep it this way only. I'll select it now, add in a Bbel modifier and we can give it like a wooden material in substance painter. I think that would look pretty good. But if you want to add all of these extra wooden beams, you can definitely do that. It's totally up to you. It's not even that difficult to do as well. You can just add, like, a bunch of cubes, or you can just duplicate these ones as well. But I think I'm going to go just with this. I think for the floor as well, if you will look over in your reference images, you will find I have added, like, a reference image for all of the floors as well. So you can follow these different tatami mat patterns that we can use. I think I will be going with this one. I think this one fits our room the best, so we can go with either this or this. These are like square shaped patterns that we can simply adjust. But if you want to add, a little bit more complex ones, you can do that, as well. But I'll be going with this. So let's just do that as well. So I'll select my bottom face this time. So just select it all. I think I'll just directly press P and separate the selection. That's why now it is a separate object, press slash to go into the local mode, press tab. And again, a different way of doing it. Just press two for E select, select all of these edges, press X, and dissolve the edge loops. So now we just have this single phase only. Press seven for top view, select it go do object origin geometry, and then just select it pre shift plus to select it, preshift A and add in a reference image. And we can select our reference image of the max. Scale it up and just match this one. Like this. Okay, so it fits perfectly. Now we can just select our plane, press tab, press control R over here and over here as well. And now to remove all of these extra edge loops, either we can just select these faces and then press F to make them a single one. These two, and again, press F. I think this way, we get, only the edges where we want, and you can select all of these extra ver Cs, press X, and dissolve the vert Cs. All right, perfect. And now you can just press A to select everything and press I to insert the faces and press I once again to make sure you are inseting individually like this, create an inset like this. This much is pretty good. And then we can press E and extrude them downwards like this. And we have what ourselves are like tatami Mat pattern, add in a bevel modifier, apply the scale and adjust the bevel amount. Let's press slash to come out of the local mode, and I think it is a bit too much, so let's undo it quickly. And I don't think I want to insert this too much. So make sure to just press Control A and apply the scale first and then select everything, press I and I once again to insert this individually. And I think somewhere around here would be pretty good. Now, just press key and extrude it inwards and just a little bit of extrusion downwards, not that much. Yeah, now we can add in something like a bevel modifier, and I think this is pretty good. Maybe I'll just move it up a little bit more because we don't want to create, like, too much of extrusion over here on a floor. Yeah, I think this looks much, much better. I will also just select this image, press M, and move it to the reference images collection. And we can also delete this Boolean cutters collection now. So just press delete and delete this. All right. I'll select my flow once again, press slash to go into the local mode, press tab and you can select this outside edge, so hold all and select this edge completely. Press Alt plus E and then just press extrude edges like this, hit right click and then scale it out towards like this. I'm just doing it so that there is no light passing through this, so I'm just extending it up a little bit like this. Alright, so now I'm pretty happy with how the floor and our roof is looking. So let's work on the light now. So press three for the right side view, you can hold Shift and right click and bring your TD cars over here. Press Shift A and start by adding in a reference image, and we can select this door reference image because it has the light as well. All right, so we start, let's press Shift A, add in a cue, and we can enable Xray and just scale this cube again according to the reference image. I'll just match it with these wooden lines that we have. Precess in Z and scale it down on the Z axis as well. All right. Let's see. I'll select the image and move it back over here. Press tab, and I will select this top face, press X, and delete it to make it hollow like this. I think I will just precess the X and scale it up a little bit on the X axis this way. Yeah, I think this is pretty good. Press three, again enable select this press shift pluses then cause it to select it. And now we can start adding these wooden bars that we have. Press shift they again add in a cube, scale this cube down and place it right over here on the top. Let's just scale it up in here first and bring it out like this. Now just select your cube, make sure to go to object set origin origin to geometry. Make sure to apply the scale, and then we can select this, add in a mirror modifier and select the mirror object as our. Set it on all of these axes so that we can duplicate it. And yeah, that's pretty good. Now we can just select. Again, this wooden bar, duplicate it. And for now, I will just remove the mirror modifier, rotate it by 90 degrees like this and place it right over here. Scale it down according to the reference image and place it like this. Let's see. I'll move it a little bit over here or no. Maybe I'll just select them and extend them up a little bit like this and then just select this one and move it to the right like this. Yeah, I think this is better. Now we can again select this, add in a mirror modifier and select the mirror object as this one. Set it on the Y axis as well. And yeah, I think this looks pretty good to me. Again, I will select this pressure plus D, duplicated. Let's remove the mirror modifier and rotate it on the Y by 90 degrees. We scale it up like this. We can kind of extend it outwards. Let's move this down a little bit, press tab and just increase the thickness over here, create something like this. And then we can just add in a mirror modifier, set it on the Y and the z. And yeah, I think this looks pretty good. Maybe what I will do is I will select this part and just extend it outwards like this. Now, I'm just trying to adjust them all up. Select the main box and just select all of these top verses and just bring them down till here. And with this, I think the light is looking pretty good. Now we can just select any one of them, give it a bevel modifier, make sure to apply the scale and reduce the bevel amount. And now I want to just copy up this bevel modifier to all of them. So select all of it. So you can just select it like this. And then select at last the one that has the bevel modifier, press Control C to bring up this menu and go over here, copy selected modifiers and just select the bevel, hit Okay. And this way, the bevel modifier is copied upon all of them. You just need to now apply the scale, and now it works perfectly. Also, if you don't see this Control plus C menu appear up, basically, you have to enable the copy attributes add on. So in your preferences under the get extensions or the add on section, you can search for copy attributes, and you will find it over here. So just enable that and then it will work. Alr. So next what I want to do is I do want to improve the look of these wooden pieces a little bit. If they look fine to you, that's fine. But I think I will just make them not overlap that much. Select this phase and move it inwards like this, select both of them, and press S then Y and scale them in like this. I think this feels a lot more cleaner with, not all of them overlapping this way. Yeah, this feels fine to me. So now you can press three. Press tab once again, and what I will do is I will just select this phase, press Shift D again and press B and separate the selection so that I can bring it out over here. Now just simply press tab again, enable Xray, press Control R, add edge loop over here, add one over here, and add one like this. Delete all of these extra words Cs at the corner, just select them, press X, and delete them. I think I will delete these two edges as well. So press X and delete the edges. I think we have done this earlier as well when we were creating the door. Press tab, press to select everything, and extrude it out like this. Just a little bit, make sure to apply the scale and then just simply add in a solidify modifier. Give it a bit of thickness and set this to complex and just set the offset to zero. So with the offset set to zero, they will be placed in the middle of your edge loop, and that is exactly what we want. Like if you had them at minus one, they would be like this, at plus one like this, but at zero, they would be perfectly in the center. And now we can just adjust the thickness. According to the reference image. Yeah, I think this is fine. And let's just move them in over here. Make sure to obviously decrease the thickness. Sorry, not this thickness, but like this one. Press S then X, and scale it in like this. Apply the scale. And, that's pretty good. Select this and add in a mirror modifier and set the mirror object as this. Similarly, just select it, press R the Z type in 90, rotate it like this. Remove the mirror modifier from the X and set it to the Y. You can scale them up like this only and place them right over here. Let's select the bottom face and move it up. Let's select all of them as well. Enable X ray, select it all and just move it up. I think the light is starting to look really nice. I will also create something similar on the bottom face as well. So just press tab, select the bottom face, press Shift plus D, pre z, and then you can press P and separate the selection. Make sure to apply the scale, and we can add in, like, again, a couple of edge loops for this one, I will add two like this, scale them up on the Y. Add two this way, and then scale them up on the X. I press control R, and again, press control R and create something like this. Now I think this is pretty good. I will be using something like this. So what we can do is again just press A to select everything, press X, and just delete only faces, I think. This will keep only the edges, and that is what I want. I will extrude it upwards like this once again and add a solidify modifier. Set it to complex, move it above the bevel, and set the offset to zero. I think this is pretty good. Give it a bit of thickness and just move it up. I think I will select this space press tab and just select this space and move it up a little bit so that we have a little bit of, like, more space over here. And, yeah, I feel like this looks pretty good. Maybe we can increase the solidified thickness a little bit more. And with this, our light is starting to look really nice. The last thing to do is to just add in a couple of cylinders. So add one cylinder over here for the roof so that we can show some sort of connection to the roof. And again, press Shift plus D place this one over here, and this can be the switch to turn it on and off. Again created like this. Press Shift plus c to select it, press Shift again add in a new cylinder and place it right over here. Press tab and extend it like this. Select them both, move them back. And let's see. We can place them inside this little piece, just like that. And with this light and everything is basically done. So select it all, press shift process C select it, press shift, add in empty. And now, again, just make sure to select empty at last, right click and parent this. We have done this a lot of times now. Press and move this to the light solection. Press seven for top view enable Xray. I think I will place it somewhere around here. I feel like this is pretty good. Maybe we can scale it down a bit more. I'll select these two and just move them down because I do want to make the switch a little bit longer. Like that. So that anyone can kind of switch it on while sitting around the table itself. And if I look at it now, I feel like the room is starting to look really nice. Let's just sit save, and I think this much is pretty good for this lecture. We did like a couple of things. We adjusted the floor, the roof, and lights. So yeah, we'll keep on adding more props. Thank you, as for watching. I will see you in the next one. 12. Modelling the Utensils and Blankets: Hello, and welcome, guys. So let's continue working on environment. And now I do want to work on some of the smaller props. So let's start by the props on the table. Then we can add the blanket, as well. Alright. So let's just start. What we can do is, I think we already added the reference image for the utensils on the table. So you can enable back the reference images collection, and I will just select this one. Press M and move this to the scene collection so that it comes out of this reference images collection, and then turn off the collection entirely. We can select this image and then press M and move to the collection back again so that it just gets disabled, and now we can start working. I'll press three for the right side view, and let's select our image, press Shift plus then cure to select it, press Shift A, and let's start by adding in a simple cylinder. Enable Xray and scale this down. And these are pretty simple and basic shapes. So let's just press tab and extend this up till here. Make sure your Xray is enabled. And then you can just press Control A, apply the scale first, and press Control R, add one do bright over here, and then select the top one, hold At and select it entirely, press Control B and bevel it out like this. Yeah, I think this is pretty good. And then to create this kind of inset type of thing, what we can do is, let's right. I in shade, smooth this. Now just select this loop, so whole dot and select this loop, press Control plus B and bevel it out like this, but just give it a single segment in between and make it, like, really, really tight like this. And then you can select the middle edge loops, whole dot, and select this middle one and press O plus S to shrink the size like this. This way, as you can see, we created that division, and now it would look better if you just add in something like the bevil modifier. Sorry, I'm just going to move this image back over here. Yeah. Now, you can add something like a bevel modifier. Just the bevel amount. And enable heart and normals as well. All right, so this is done. Then I will just select this thing that we have created, press shift plus S, again, cause it to select it, and then we can add in another cylinder to create this plate. Let's scale this down like this. Then you can press S then Shift plus that to only scale it on the XY plane like this. As you can see, we are scaling it up. So now when we press S then Shift plus, it is basically scaling it on the XY plane, leaving out the z axis. So this way we can scale it up like this and just make it the size of our reference you mentioned. Just scale it up till here. Let's move it to the side. Yeah, I think this is pretty good. Now we can just first select it, press control, apply the scale. Right, and shade to smooth this and let's just select this top face. So press tab, select the top face, press I to inside, and then just press E to extrude it downwards and maybe just scale it up inwards a little bit, create something like that. Maybe we can select this edge as well, so hold art, select this edge loop, press Control B, and just bevel it out a little bit. Now we can add something like a devil modifier, move this on the top, and enable harder normals. Add something like a weighted normal modifier to fix all of the normals. Yeah, now it looks pretty good. I will select this part, enable X ray, select it all and just extend it till the bottom like this. Yeah, pretty simple. In a similar way, let's just add another cylinder, scale this down and place it right over here. Match it with the reference image. Press Control A, apply the scale, press tab and select this part, and press Control B to bevel it out. Create something like this. You can press S then Y and scale it inwards just a little bit to make that kind of taper going through for the glass. And you can press select this phase, press X, and delete it. Rightly shade all smooth and I will just add in something like a solidify modifier to give it a bit of thickness. Yeah, I think this is pretty good. Next, let's work on, what do we call the kettle? So press shift. And let's add in a cylinder once again. Let's move it right over here. Scale this down. And for this, what I'm basically want to do is that we can start by creating it really low poly, and then we can just add in the subdivision surface modifier to smoothen it out. Press tab, and just select this part, scale this down. Bring this down right over here, again, scale it inwards, press E, and again, scale it down a little bit. And now press E, extrude it out. Let's go here maybe then again, press E, extrude it till here, scale this down, maybe add one in the middle and scale it up. You just keep the overall form and shape. I'll extend this one till here. Again, press E and move this one over here, scale this in. Press E, and just extrude it outwards. Now just press E and extrude it till here. Don't create these parts by extending it like this. We will create them a different way by selecting the couple of word C over here. We don't have to create this entire face like this or this entire loop scaled up like this. So let's just keep it like this. I'll select this one, and I will add one edge loop right over here so that later on we can create this division that we have right over here. Just scale it down a little bit, move this down. And yeah, I think this is pretty good. Now what we can do is just simply add in something like subdivision surface modifier. But let's see. We get something like this, right click, shade to smooth this and add in a bevel modifier on top of this. So make sure to move the bevel modifier on the top. This will increase This will improve the shape of our kettle lot and also move the smooth biangle to the top. I will press tab, select this phase, press X and delete the faces. And for this bottom, one just select it, and to resolve these shading issues, you can press I to inset and then I once again to inside it like this, then right click and just poke faces. This way we get proper shading on the bottom as well. Alright, so now we can just create these parts that are a little bit extended on the front and the back. But before that, I will select my cylinder pressure precess to select it. And let's just add in a cylinder. And we can create this shape first. Press tab and bring this down right over here. Press control I apply the scale and then press Control B and bevel it out like this, so that we get the actual shape on the tops, right click and shade to smooth this. Now what I will do is I will select R, like the juvPress control R and add one age right about here somewhere. Yeah, and now I will just select the top one, so hold, select the top one entirely, and I will just scale this in like this. Oh, yeah, something like that. I can select this, press S, then Shift plus there and maybe scale it up a little bit and scale this one outwards like this. And yeah, I think this looks pretty good to me. Next, what I will do is to create this lip on the front and the back. You can press seven for the top and let's just select this lender, hide it for now, so press H to hide it. Select this, press tab. And basically, we need to select the word C that is right in the middle. So basically, this edge right over here, and we don't really need to select it entirely, select the top word C and then select one word C on the left and the right. Like this and we can select one more, I think, on the left and the right like this so that we keep equal parts on both sides so that when we extend like this, it stays symmetrical. So yeah, now you can press three, press G, then Y and bring it out till here like this, bring this down, enable Xray. And now we can just select the corresponding word Cs that are just at the bottom, select them all as well, press three again and just bring them out as well like this. And now we are getting kind of a smooth shape right over here. What I will do is I think I'm going to remove the bevel modifier and we can select the smooth biangle modifier and move it below subdivision. I think that gives us, like, really smooth shading. And yeah, I like that. And we can increase the levels to two, so that we get, a little bit more geometry and it like smoothens everything up. And yeah, I think I'm pretty happy with how this looks. We can now press tab and select the Back side as well in the same way. So just select the middle word C that we have right over here, and then you can select one word C on the left and on the right. And now just press G, then Y and extend this one until here. Again, select the word Cs that are exactly at the bottom of this and just bring them out as well by pressing G then Y. And this way we have created like a nice little shape for our gov. Press plus H and bring this like the cylinder back. And with this, I think our jug is looking pretty good. Let's press tab on over here. Let's just enable X ray, and then we can hold on, select this loop entirely. Let's press G twice and move it up a little bit. And this time just press Control B and bevel it out like this. You just need like two edge loops, nothing much. Just like that. And then you can press Alt plus E and extrude faces along normals and just extrude this inwards like this to create this division in between. We can add a couple of words Cs over here and over here because we have removed the bevel modifier, so we do need to tighten them up on our own. And if you want, you can add a couple over here and over here as well. If you want really sharp edges this way. But yeah, it is not really that important because this particular object is going to be very small in our scene. But, as you can see, if you add all these word sees, it will look a little bit more sharp and polished. And yeah, I think I'm happy with this. Let's just create this handle now. So the way we're going to do this is just press Shifte add in a plane. Let's press tab and scale this down first. Okay. Make sure to enable Xray and scale this down like this first, and then we can press three press tab, bring it out right over here, and bring this part over here. And now just press E and extrude it out. We don't really need to extrude it like inwards as well over here. We can simply add something like a solidify modifier and give it thickness. I think that will work the best for us, increase the thickness like this. And yeah, as you can see, that works perfectly. You can see there is a little bit of overlap right over here. So just select one of the edges and just move them apart a little bit, and that will fix most of our issues. If you want, we can add in a subdivision surface modifier to make it smooth, press control R and add one edge to right over here and here. Let's add one over here as well and over here. Right click and shade how to smooth this. We can maybe bump it up to two. And yeah, as you can see, we get a pretty nice looking handle as well. And this way we have done all our rocks. So let's just select them all and I will let's see. I will just select this part over here carefully like this and just hide it on this as well. So hide everything except the table. Now, select these, move them on top of the table, obviously, and scale them down quite a bit. Two. And let's see what we can do. We can either just parent them with the table only or we can parent them to a separate empty objects so that we can control them individually. But I think what I'm going to do is I'm just going to place them on top of the table like this and not really going to parent them to anything right now because I'm not really sure about the scale of them. So let's just keep them like this only, press salt plus H, and bring everything back. Scale seems fine to me. So yeah, let's add the blanket that is placed over here, as you can see in the reference images as well. You can create something like this. So the blanket is like a fairly simple shape. I think we can do it with the same technique by let's say using something like a plane, add a plane. And what I will do is I will press tab, enable Xray, select this part and just move it right over here, and extrude it out like this. As you can see, we will just give it a couple of folds this way. Just keep on adding words C, keep on pressing E and extruding it like this to create a blanket looking shape like this. Maybe one more, you just add one more like this. Now we have something like this, which does look like a blanket, but it does not have any kind of thickness right now. So what we can do is we can just simply add in a solidify modifier once again. Now, you will notice that when you scale it around it won't really work perfectly. It won't really give you the best thickness that you want. And the way to fix that is first set this to complex and just set the offset to something like zero. Because right now the offset is two minus one, which as you can see, does not work the best. It is overlapping over these areas and over here. Even if you set to something like one, then it starts overlapping right over here. But if we set this to something like zero, it will center it center geometry in the middle of the solidify modifier, and this will give us the best kind of thickness. Obviously, there will be still some overlap going on if we increase it too much, but I think there is a much more margin of error. So we can maybe increase it something like this. Then we get a much more blanket like shape, and then you can add in something like obviously a subdivision surface modifier to smoothen it out. Let's share to smooth this. Let's see now how we can make it look a little bit better. Let's just increase the solidified thickness first and see where it gets us. You do get something like this, then I will increase the subdivision to two. I think this looks pretty good, but we can just pretab and maybe add in edge up right over here and one over here as well. And yeah, as you can see, right away, we get really nice looking blankets. And I think they fit our scene pretty well. We don't have to do too much. So yeah, just create a plain with this kind of shape and then add a solidifyer modifier and then a subdivision surface. And yeah, with that, we have the perfect looking blankets, and I will just place them right over here. I will select this flow and select the let's just select what is that? The cupboard on the back, press slash to go into the local mode, press seven for top view, and let's press R then type in 90 to rotate it like this and just scale it down to match it with the size of the cupboard and place it right over here. I think I will scale it down a bit more then press S the Y and scale it up on the Y axis like this. Press Alt and apply the scale. Okay, so applying the scale increases the solidify modifier, so just decrease it to the earlier thickness. I think this much is pretty good. Let's press slash to come out of the local mode and see how everything looks. Yeah I think I'm pretty happy with how everything is turning out. You can press Tab and maybe just select this loop, so hold on, select this loop entirely, and move it a little bit on the left so that we do get some smoother shapes, and we don't get everything harsh. Similarly, select the loop right over here as well, and press G then Y and move it till here. A, with that, I think a blankets are looking really nice. Let's just it safe. A a, I think this much is pretty good for this lecture. Thank you guys for watching. I will see you in the next one. 13. Adding the Calendars and Cardboard Boxes: Hello, and welcome, guys. So let's continue working on up environment and add some more props to it. So next we can start by creating this pillow or cushion like thing that is kept on the floor. Also, we have something like this small fan that we can create. So I've added the reference images for these. For the pillow, I think we can just let's just select the table, press Shift plus cause to select it, and we can press Shift plus A and add in something like a cube. Let's scale this down and try to create it. I think this much size, like somewhere similar to the table. So I think something like this, press Control A, apply the scale, and now we can add in something like a subdivision surface modifier. Let's increase the levels to two, right click and shade all to smooth this. And let's see. We can first press Control R and add two edge loops like this. So use your scroll wheel and add two edge loops, and then we can press S then X and scale it up like this. Yeah, I think that looks fine. You can add two edge loops like this as well, or no. I think that makes it look a little bit too much like a square. So I will undo this and keep it like this only. Let's place it on the floor, press tab. And now let's just select this phase, press I to insert this. Let's try scaling it in a little bit. And yeah, this kind of gives it that kind of a little bit of a messed up look for that pillow. It does not look like too much perfect. You can increase the levels to three if you want to. To make it even more smoother. But now I think it looks very much like a pillow. I think we can go with two levels only. This looks fine. All right, so let's just hit save now and then we can continue. I will press three for the right side view, and then we can hold Shift and right click. Let's play SVD C over here, press Shift t, go to image reference, and we can add in our reference image of the fan. So I've added this simple fan image. We can also use this later on as a texture as well, and right now we can use it as a reference image. I will just press S then Y and kind of squish it in a little bit. Yeah, that's good. Let's just press Shift press because it was selected and press Shift A, add in A single word. Let's press G and place it right over here. Let's just quickly start extruding. And now we can just connect these towards Cs like this. Just select them both and press F to connect them. So pretty simple. Now we can select our fan, press tab, press A to select everything, and press F to fill out this phase. Let's add in something like a solidify modifier and give it a little bit of thickness. Or I think we can just directly press tab, press A to select everything and then just extrude it like this. Right click and shade how to smooth this, and let's just add in a bevel modifier. Make sure to apply the scale and adjust the bevel amount. Now to create this bottom part, we can again add in something like a cylinder. Scale the cylinder down. Let's enable X ray, press tab, and move this at the top, press E to extrude it downwards and scale it in. And then once again just scale it completely downwards like this. Then you can also press Control B and bevel it out like this to give it like that, smoother part at the bottom. Now, what I will do is first right leg and shade or to smooth this and then just press S then Y or sorry, STN x and then completely squish it in like this so that we can fit it in with our fan. So let's just move it up like this. And yeah, I think this is pretty good. I'll select them both, press S, then X, and again, just squish them in a little bit more to make them, like, really thin, something like that. Make sure to select them both and apply the scale. I will just select this edge, hold, select this edge, press S, the X, and scale it up just a little bit so that we can actually see this line. Now you can select them both and scale them down like this. And let's just place this right over here. You can also press the dot key on your number pad to focus on any of the objects. Let's place it right over here at the back. Press R, then Y, rotate it up a little bit. I think we can place it somewhat like this. I think it looks pretty good. Maybe scale it up a little bit. Anya, I think this is fine. Make sure it is touching the wall and not like this flying off the ground. And yeah, let's just say save, and now we can continue. I will check PureRef and what more things do we need to add? I think we can add something like these calendars that we have present over here. So once again, press three, press Shift A and add in a reference image. Also, I will select these two, press M and move them to the reference image collection. Go to image reference, and let's add this one first. So let's see. We want to make them somewhat like this, resist the Y and scale it up a little bit like this. And yeah, I think something like this would be pretty good. So you can just press Shift puss cause it to select it, add in a plane, and just roughly created the same size of this because we are going to use it later on as a texture as well. Just create it like this. Move it back. You can select this and move this to the side. Now, to make it a little bit better, I will just add in something like a solidifier modifier, apply the scale and adjust the thickness, obviously. Give it like a tiny bit of thickness, and then we can select it and just duplicate it like a couple of times and just, like, you know, move it down like this. Again, duplicate it. Again, just move it down a little bit, so that it kind of looks like there is like a layer of pages stacked behind this calendar. I'll select all three of them. Just select all three of them and you can press slash to go into the local mode so that we can work a little bit more freely. We can add one like this. And yeah, I think this looks pretty good. This makes it look that we have a stack of papers behind this. Select this press shift process because you selected, let's add in a cube at the top. That is kind of like holding them together. I Yeah, I think something like this looks pretty good to me. Just press slash to come out of the local mode. And again, select it all. Now you can just hold Control and deselect any of the extra objects that have been selected, and now just move it back till here. Now, let's just press three once again, press Shift, add in another reference image, and this time select this one. Scale this down and this one can go somewhere around here like this, a little bit smaller than the earlier one. Et's just quickly check the reference image. So we have this one over here at the top like this. And yeah, this one is just above the boom box. So something like this, I think is fine. Maybe I'll just select this whole control and deselect the extra objects, press S then Y, and maybe scale it up a little bit like this and scale it down. Then I will just duplicate it, move it down, and make it roughly the same size of this one. Yeah, I think this is fine. You don't have to create it, exactly the same size because we can just adjust those textures in substance painter when we are texturing. Select this and move this to the side. And this is pretty much all we need. So now what I want to do is that I want to be able to quickly select them because right now there are a lot of these small objects that we cannot select them properly. So we have to just select all of them and then press Control J. But make sure to just apply the solidify modifier before that. So just select all of them carefully first and just hold Control and deselect the extra objects. And then you can first press F three and just go to Convert to mesh. This will basically directly apply all of the modifiers, and now we can just safely press Control plus J to join them together into a single object. Similarly, do that for the bottom one as well. Now hold Control and deselect the extra things, press F three, and just select Convert to mesh, and then you can press Control J. Now they both are like a single object. We can also add in something like a bevil modifier if you want to to make these edges look even better. And you can breast tab, and let's just say I select a couple of these vertices and move them like this or a little bit in the front to make that layering effect look even better. Again, we select these two press G then Y and move them to the side like this. And this will kind of make it look really like a calendar and all these pages hanging from behind. I think this looks pretty good. Similarly, I will do it over here as well, add in a bevel modifier. Make sure to apply the scale, press tab, and just select a couple of these words sees and just move them around a little bit, not too much. All right, all done. Let's just look at it now. All right, guys. So the calendars are also done now. Next, we can maybe add in something like small cardboard boxes that are present right over here in the corner of the room. Let's press Shift A. First, let's select our flow, press shift process cause to select it, press Shifte and add in a simple cube. Let's place them right over here in the corner. So they are not present originally in the reference image, but I just want to add them to kind of, like, fill out the space a little bit, like we have a little bit of dead space present right over here. So you scale them up. To kind of roughly give them the size of a cardboard box. All right, so now let's just press Control A, apply the scale, press tab, and we can select this top face, press X, and delete the faces, and we can maybe select this edge, press E, and extrude it like this. Once again, just select this edge, press E, and extrude it like this. I maybe overlap them a little bit. Now press G and Z and move it upwards to create the flaps that we have for cardboard boxes. I will rotate it a little bit like this. G then shift, place it right over here. And yeah, I think this looks pretty good. Now, select it, go into the modifiers and add in something like a solidifier maybe to give it a bit of thickness. Maybe we'll set this to complex, and now we can just adjust the thickness to a pretty low number. So yeah, something like that. Maybe a little bit more so 0.002, and now add in a bevel modifier. Make sure the scale is applied, reduce the bevel amount to 0.001, or even less. So triple zero, then one. Now I'll just increase it slightly. And yeah, I think this looks pretty good to me. Enable hard and normals and yeah, we have created our cardboard box as well. I will move this one a little bit over here, press Shift plus D, press G, then shift plus Z, and place this one over here like this. Scale it down, try to give it a little bit of different scale than the other one. And also just move the flaps like somewhat differently, just to create a bit of randomness in our scene. Yeah, I think I'm pretty happy with how the box is looking. Let's just say Save. And with this, I think we have added, most of our props. Obviously, we will be adding a couple more. But what I want to do now is that I want to texture all of these assets first, and then we can just look at how our scene looks and then later on, add some more props wherever we feel like. Like, we have a little bit of empty space right over here, so we can add some over here. So yeah, what I want to do with the next lecture is we will apply all of the modifiers, UV and wrap this and export this substance painter to finally start with the texturing process. And yeah then we can later on worry about the other small props. So thank you guys for watching. I will see you in the next one. 14. Lighting and Adjusting Layout: Hello, and welcome, guys. So before we actually start to UV and wrap and export our models to substance painter for texturing, what I want to do in this lecture is that I want to set up a bit of lighting and camera composition to actually see how our environment looks like. So to start off, I will just select these two plus and move them to the reference images collection. We can switch over here to the rendered mode so that we can see right now we don't have any kind of lights in our scene. So let's just come over here in the render properties and first switch these two cycles. Also, go over to GPU. And you can enable the noise from over here to enable the de noising in view booat. Next, I will press Shift A, and let's start by adding in a sun lamp. We can move it around. It does not really matter. What matters is when we rotate it around. So we can press R then X and rotate it just like this. Then maybe we can press R then Z to rotate it a little bit on the z axis, not that much. Next, what I will do is I will select the sun lamp itself, go over here in the object data properties, and we can increase the strength to something like two for now. And also, I will increase this angle. So basically what this angle does is it will control how sharp or soft your shadows look. So right now it is really, really sharp. But if you keep on increasing this angle, they will become softer. So we can go around somewhere like two degrees so that we get fairly soft shadows, maybe a little bit more. And yeah that's fine. Next to add a bit of overall light in our scene because right now it is pretty dark. You can press Shift and just add area lamp. We can move this area lamp up over here, so press G then tea and move it really close to your upper wall and just place it like this. Then we can just scale it up on the Y axis first and then press STX and scale it up like this as well. I will also increase the power of this to something like 15. And obviously, we can do all sorts of things like giving the lights different colors to create a bit of mood and atmosphere in our scene. But I think it is better to just set up a basic lighting setup right now, and then later on when we texture everything, then we can focus on these things a bit more. All right. So next step is to come back over here. So now let's press Shift A ad in the camera. And it is added right over here. Also, we can just delete this camera, press three first, and then press Shift A and add in a camera. This will make the camera align itself with the view, so it is a little bit easier to place it. You can press G and then X, move it back right over here. Let's press zero to view through the camera and we can just move it up. Now you can go into your View tab right over here. You can press to bring this up and go into the view tab, enable camera to view. And from over here, you can just easily zoom in or zoom out into your camera and move it around just like you would do your scene normally. I've placed it something like this. And first before we actually start to, like, set up everything, and now in the render properties, just set the max samples to something like 100 and then we can press F 12 to see how it looks. So right now, our scene looks something like this. This way, we can easily compare it later on how we have changed it. So right now we have something like this. Let's switch up a couple of things to make it look a little bit better. So first things first, right now, the focal length of the camera is a little bit lower because in Anime, as we all know, things feel very flat as if everything is a bit too d, and right now it looks pretty three dish to me because as we can see, we can easily figure out that all of this is three D. So now what we can do to fix this type of issue is to just increase the focal length of the camera, which will make everything look a lot more flatter. So we can set this to something like 80 and enable camera to view once again this time move this back. Move it down a little bit. Now if we press F 11, we can view our old render and we can press J to switch to a different slot. So right now we were in slot one, and now we are in slot two. And again, press F 12. This way, we can render two different images and press J to compare them like this. And you can instantly see this feels a lot more three D, while this feels a lot flatter. You can obviously increase the focal length a bit more as well, but I think this much is pretty good. All right. Let's keep on moving, and I will select our camera. Let's move this down and also press R then X R then Y and rotate it upwards like this a little bit. Then again, move it down. Like this. Yeah, this feels pretty good to me. Let's come back right over here and you can turn off the overlays from this icon, so disable them. And first, I will select this. And let's just build G then Y and move it a little bit to the side. Also, I will select my light that we have right over here, so you can see, this is the reason we added all of these parent objects because it gets a lot easier to select them. I will now maybe increase the scale of this a little bit. We can come back to our solid mode. Just increase the scale a little bit now and press G then Z and move it down to somewhere around here. Let's select these two and move them up roughly around here. I will also select my table, and before we do that, we can select this one, one, this one, like all of these utensils that we added on the top, and then select our parent. That is for the table, right click and go to parent and select Object. This will also connect these utensils as well to the table. Let's select these two and press G then Y and move this to the side a little bit. Also, maybe let's decrease the scale of them just a tad bit and let's move them inside this tatami mat flooring. Let's select the pillow and maybe off center it just a little bit like this. We can select our fan as well and move this right over here. We'll also select this cupboard right over here, maybe decrease the scale of it just a little bit. Move it down, and also select our boom box and move it down as well. So I'm just doing small little changes here and there to kind of fix the overall look of the scene. Let's select our chair and move it back. Also, we can quickly just open a pure ref. I forgot to open that, and we can actually take the reference from over there as well to kind of make our scene look similar to the reference image. So we have something like this. Yeah, we are pretty much going in that direction only. We do not see the light popping up in our scene in this one, but don't worry, we can add that because we want to show the light that we have created. So we will go with that. I will select the camera and move it down just a little bit. Let's move the table to the side, again, maybe just a little bit. And with this, our scene is starting to look pretty good. You can press F 11, and we can quickly give it a render once again. And this way you can see earlier it was something like this. Now we have made it look a lot more flatter and give it a little bit better dimensions. And we can see it is very similar to our original reference image. Let's see. I also want to fix up some other things like this space right over here looks a little bit too much. Fan is kind of flying because I think decrease the scale of this. So let's fix that first. Select our fan and move it down. Press tab and select this wall that is at the back, press G, and then X and bring it a little bit in the front like this. Now we can just select our door. We can just select the room itself and hide it by pressing edge, then select the door part and also bring it out a little bit. Press alt plus H and then we can bring all of the hidden objects. And now it looks better. What I will do is I will select the room, press tab, and we can press Control R and add one edge loop bright over here. And press Control R, add one edge loop private over here. Then we can select this phase and basically just delete it completely because obviously we do not really need this pace because behind this pace is the door itself, so we don't need extra geometry. So we can just hide it completely or sorry, delete it completely. So just select that pace, press X, and delete it. In the same way, you can delete the pace right over here as well, because over here as well, we have a door. So press H to hide that door, press tab to go into the edit mode, press Control R, and let's add one edge loop right over here. Add another edge group right over here. And for this one, we do not really need to add one. We can just select this phase, press X, and delete it so that we have an empty space right over here. Now we can press plus H and bring in our door to fill that out. This way, we also save up a little bit on the geometry as well, and we fix up the issue of that phase showing up through our door. You can maybe now select your door and just increase the scale of it just a little bit so that we do not really see any of these black shadows popping out. And I think that's fine. I will also select the door, select these two phases, and then just bring them out. To make it look something like this. We do not want the extrusion to go that deep. Again, bring it out. Somewhere around here. One other thing that I also want to fix is you can clearly notice that in our reference shot, we can see the door over here in our camera view. But in our scene, we cannot really see the door poking out, so it will be a little bit difficult for us to show this nice lighting that is coming out of this window because we cannot really see it in our scene. So I think a way to fix this is I will just select these two plans and I will just delete them because we don't really need them so that I can now just select this door and move it to the side like this. I will also press then X and just decrease the scale of it just a little bit to squish it in like this and move it right over here. I will select this one, this one, and this one, and just press G then X and move it to the side once again. Make sure to select these extra faces and press X and delete them. I will also select this door, press, then X, and squish it in just a little bit. And this way, if we press zero now, I think we do see, a little bit of door poking through, and next we can just select our camera and move it a little bit back. So that we get a lot more of that door in the field of view. I think that is pretty good. I will also just select this loop or sorry, this edge. It's enable X ray and you can select it individually like this and then just press G, the next and move it in over here. Can also just, I think, delete these faces in the corner, press staab and just select this phase, press X and delete the faces. Elpres slash to go into the local mode. And yeah, we do have a little bit of issue. Just select this word C, press X and delete the word C as well. You can see that we do have a lot of double vertices popping up for some reason. So to fix this quickly, just press A to select everything, press M, and merge by distance. This will collapse all of the duplicate vertices that are on top of each other and fix our issues. And yeah, now we have everything perfect. We can also select these edges that are in between because they aren't really helping anything. They are just extra geometry. So you can select them, press X, and dissolve edge loops. This way, we get a lot more cleaner geometry. And yeah, I think our room is looking pretty good now. I will also fix up the bottom part of our room, press tab and just hold Alt and select this loop that is outside, press X and delete the word Cs. Now we can again, hold Alt, select this outside loop, and press E first, press Z, and move it down just a little bit, and then we can press Alt plus C and extrude edges like this, pay right click and just scale them out. The reason I did this is this way we get a little bit of extrusion present, which was earlier not there. And now we can just scale it outwards a little bit like this. Press three hold out, select this entire face loop, press G, and Z, and move it up a little bit to match it with the thickness of the other extrusions. And I think this is fine. We can press zero and press F 11, and let's give it a quick new render so that we can once again just compare it. You can see earlier it was looking like a lot more three D, but now we have kind of made it look very similar to the reference image where we get something like this. All right. I will close this for now. And if you can see, we do get a little bit of shadow issue, but don't worry. After we texture everything, we can just select these walls, and later on we can simply just extend them like this so that won't be an issue. We can just ignore this for now. Let's select the chair and move it a little bit out. I will also select the fan and maybe increase the scale of this just a little bit because it does feel a little smaller compared to the rest of the items maybe. Let's select the table as well, scale it up just a little bit like this. And, this way, I think we are doing pretty good now. Let's just press save on a files and give it one last render to see how everything looks. All right. So yeah, I think I'm really happy with how our scene has turned out. Okay, one more thing, I will just select these boxes and move them to the side and also select this as well and move it a little bit to the left. Sorry to the right. And with that, I think we are basically done with creating scene. Now we can finally focus on UN wrapping and texturing them all. So yeah, thank you for watching. I will see you in the next one. 15. UV Unwrapping and Exporting to Substance Painter: Hello, and welcome, guys. So now in this lecture, let's add materials to our objects, and then UV unwrap them to start exporting into substance painter. But before that, let's just quickly fix up a couple of issues, as you can see, the door is not correctly placed right over here, and that is because we deleted some wooden blanks from this side, but we forgot to fix up the right side as well. And also, we can just select this one, and you can see both of them are connected. So let's just press tab, and then you can hover over this one and press L and just select it, then press P and separate the selection so that we can just separate the selection, and then we can just select all of these doors. And move them right over here in the corner. I will also just select this prestab and select this face from our room, press X and delete the pace. Now let's just select this wooden plank and move it over here. Once again, just select your room, pretab enable X ray and we can just select these word Cs and just move them in like this. One more thing that you should just check before you start to UV and wrap and export your objects. Go over here and enable face orientation. What this is basically, this will show you the direction of the normals. So all the objects that are appearing like normal, as you can see, the table is fine. But the objects that appear in red basically have their normals flip. So we need to fix them up. So the normals are facing in the incorrect direction. And the way to fix that is pretty simple. You just select like any of the object that is incorrect. Press tab to go into the edit mode, press A to select everything, and then you can press Shift plus N. And if that does not fix it, you can just enable inside from over here. As you can see that fixes that. Let's select our chair, press tab, press A to select everything, press Shift plus N, and you can see that already fixed it. Let's select this part, press tab, press A to select everything. Again, shift plus N. If that does not fix that, just enable inside. So similarly, now we can just quickly select them all at once. We don't need to do it one by one. Let's select all these, press tab, press A to select everything, then press Shift plus N. And yeah, now the shading appears to be fine over here as well. Select these two, press tab, select everything, press Shift plus N. Alright, now everything appears to be fine. You can see that we do see a little bit of red appearing over here, but that is because this object is just like single sided. It does not have any kind of thickness. I don't think it would cause any problems to us because it is a pretty small object. But still, if you do want to fix this, you can just select it, go over here, and your modifier section, you can add in a solidify modifier. As you can see, as soon as you do that, it will fix this issue. But I won't be doing that. I'll just remove it. All right. Let's hit Save now and quickly see if there are any kind of shading issues on a model. I don't think there are any, so we can just finally apply all of the modifiers. So by applying all of the modifiers, what will basically happen is that all of the changes would be completely permanent and you won't be able to make any change. So let's say right now I can select this part, I can control the thickness of the solidify. But after I apply the modifiers, so let's say I apply all of the modifiers right over here, now the effect is permanent. You can see in the geometry as well, it is hard coded, and we cannot really make any changes to the modifiers. So make sure you are happy with everything before you actually apply all of the modifiers. Because let's say if you want to change the positioning of this Boolean modifier, you can do it right now, but after you apply it, you won't be able to make those changes. So the best way to tackle this type of issue is that I always make a copy of my blender file before applying the modifiers. So this file right now has everything like intact. All of the modifiers are not applied, so we can keep it this way only. I can just quickly set all of these objects into a separate collection. So select all of them, and you can press M and move them to the small props collection. And yeah, what I basically was saying is that we can create a duplicate of this file now. So you can go to file. First, hit save on this, go to File, Save As, and we can create a separate file where we are going to apply all of them. So we can just rename this modifiers apply. Hit Save as so now you can see we are in a separate file where we can apply all of the modifiers freely without worrying about the original models. So what this will do is, if we ever run into a problem after applying them, we can always go back to that original file and get that model from over there. All right. So to apply the modifiers, you already know you can just select any of the object and you can just click on this arrow and hit Apply, but that will take really long if you select each and every object. So the shortest way to do that is to just press A and select everything, press F three and search for Convert to mesh. You will find this option right over here, Convert to mesh. Just select that. And as soon as you do it, you can basically see now all of the modifiers have been applied, and basically that means all of the changes are permanent. So let's say if I try to move around this Boolean object, you can see nothing really happens. And yeah, now we can just select them all and delete them as well because we don't need them. So make sure to select all of these Boolean objects and delete them. And let's see if we do have any other object left. Yeah, that is all we have. Now we can just simply add the materials and start to UV and wrap them. First, just press A to select everything, press Control A and apply the scale to be safe, make sure to apply the scale on all of them. You can see as soon as we applied the scale, these two objects for some reason flipped around. So again, press Tab, press A to select everything, press Shift ten, and just fix the normals for them. Over here as well. Yeah, now that is out of the way. We can go over here and just disable this face orientation mode because we don't want to see this red color popping up every now and then. All right. Let's say, now I will just go over here in the overlay section, and we have all these extra things, so you can just disable this extra. This way, you won't be able to see all of these extra objects and also disable the relationship lines. This will make the blender file look a lot more cleaner and we can freely work around. All right. So to divide these objects, what we want to do is because in substance painter, there are like texture sets and the texture sets, we can create them in blender only by adding different materials to different objects. So let's see, we can start by creating this first one. So the first one is going to be our entire room. So select the room, select the top part, select this bottom part, and then select all of these like wooden planks. So this will be our first material or texture set. That means that all of these objects are going to be UV and wrapped together, and they are going to be textured together as well, and they will have the same texture. We cannot really put everything on a single texture map only because that will reduce the resolution a lot and everything will be really low quality. So you need to, like, carefully and properly assign different materials to them. So what I do is I basically put similar objects together with each other. Like we can create a set for the room. We can create a set for these small props. We can create a set for the bigger props, that is these two cupboards, a chair, and then we can create like a separate texture set for these doors. So this way we can create like four or five different texture sets and texture them freely. Alright, so just select this, select this, select the top part, and you can select all of these planks. And now just press G to just move it around once to see if you've selected everything correctly. Then you can hit right click to place it exactly over here. Go to the material section, click on New and rename these two room. Now this will add the material only on the object that is currently selected, which is this one. It won't really add on all of them like this. So what you need to do is while everything is selected, make sure to select the object that has the material at last. So like this, then hit Control plus L link materials. This way you can see this nine appears right over here. That means this material is being used by nine different objects. Now you can see all of the room objects have the room material. Yeah, as you can see. So now we can just select any of the object that has the room material, we can press Shift plus L. So remember this shortcut, this is going to be really useful. You can select link. So if I select material, all of the objects that have the same material would be selected. Now I can just press H to hide them so that we don't accidentally re select them. All right. Next is going to be like just these four doors. Select all of these, and then you can just select any of them, click on new rename the two doors, and then press Control plus L and L link materials first, and you can see this eight, and then you can press select any of the object, press Shift plus, select material, and then hide. And now we have basically created two different material or texture sets you can call them. Now I will select this, like all of the parts of our cupboard. Carefully select them. Let's select this cupboard as well. Select the chair, and I think we can select the blanket. And I think these would be enough for our big props. So we can now click on New and rename these two big assets. And then you can press Control plus L and Link materials and just press H to hide them. I think the rest all of them can go in the smaller size props. You might notice now that we have done a small bit of error. We forgot to select this part into the doors material. So just select this now, go over here and select the doors material, and then you can press H to hide it. And now you can just press A to select everything and click on New and rename these two small assets. Press Control plus L and then hit link materials. And now we basically have added a material to all of our objects. Then you can press Alt plus H to bring everything back. And now it is time to UV and wrap them. Let's move on to the UV editing tab from over here on the top. Over here as well, I will just go in here, disable extras and relationship lines. All right, so to start off, let's start with the small assets. You can select this first press tab, and there are a couple of things I want to enable this thing. What this will do is it will basically select the same UVs which you select over here in the edit mode. So let's say I select this word C, you can see it is selected right over here in the UV panel as well. Same way you can enable the UV angle stretch from over here. This will basically show you if your UVs are stretching at any point, as you can see, if you stretch them around, you see this green color. So we don't want this green color. We basically want this blue or light blue color to appear all over our UVs. That means they are not really stretching. Alright, so to start off, you can select your table and then press Shift plus L and select all of the materials connected to it. So basically, it will only select the objects that have the small assets material. Now you can press Tab to go into the Edit mode, and we all see these UVs. Press A to select everything, then press U, and then just hit Smart UV Project. And you can hit Unwrap, and it will give you, all of these UVs. Then you can just go ahead to fix all of this empty space issue and go into UVs and then select PAC Islands. So what PAC Islands will do is it will pack all of them properly like this. I will go over here, Pack islands and just set the margin to zero and then hit pack. And yeah, now you can see all of our UVs are unwrapped and packed properly onto a single texture. Now you can just press H to hide them all together so we don't see them. Then we will select this one, press Shift plus L, to select all of the bigger assets, press tab, press A to select everything once again. Press U right over here and hit SmartUVPject, and hit unwrap. Once again, you can go UV. You can also average island scale, which would basically average out the scale of them according to each other and then select PAC islands. All right, pretty good. Once again, just hide this one, select your room, press shift presel materials press to select everything, and then you Smart project. It something like this, tabase them out and then pack islands. Alright, let's avoid averaging out the scales and just select pack islands directly like this. Yeah, that's pretty good, I think. We do get a bit of empty spaces, but I don't want to add any other objects over here. I think it is fine like this. We can maybe pack islands and set the margin to 0.01. Or, no, I think the earlier one was fine. So yeah, let's just go ahead with this, hide it. And now we just get the doors. Select your door, press Shift, pL, select the linked materials, press tab, ready to select everything and Smart we project. And I think in this one, we will get a lot of empty spaces. So we get something like this after packing them. So I think a better way to do this would be, as you notice, if I just bring everything back, press AL plus H. So now if I just select this table, press Shift plus and material, press tab, TNC, it is pretty much like Jam Pap, so we can, I think, move some of the objects from over here into our doors material set just to make it a little bit easier and we can also fill out the space. So I will select maybe this one, these two. What else can we select? I think I will select this blanket, as well. And now just select your door, press Control L and link materials. To add the door material to these, it will automatically replace the older material so you don't have to worry. And now I will select this press Shift plus L, select the linked materials, press tab, and now you can just press A to select everything, go to UV and select PAC Islands. If you don't want to do this extra step, it is totally up to you. I will add a bit of margin as well. I'm just basically doing this to fill out the empty spaces in our UV maps. I will once again go to PAC Islands and set the margin to 0.001. Yeah, I think that's better. It is still not completely filled, but I think it is fine than before. Now I will hide this one, select this press shift plus L material. I think this one is fine, this way only. Again, hide it. I think we need to repack these ones because now they have, like, a bit of empty space in between them as we moved some of the objects from over here to the other one. So simply just select pack islands, and it will fix them all. And now we basically get a bit more extra texture space for these other acids, which I think could work in our favor. Select this one as well. Again, shift Presl material, select everything, and then just select pack islands. All right, so now I think that's pretty good. We can now come back over here and the layout hit save, resolve plus H, bring everything back. And we have added all the materials. We have also UV and wrapped everything, so we can finally just export it to substance painter to start with the texturing process. Quickly just check for the face orientation. I think everything is fine. And let's save, press A to select everything. I go to file export, and we can select FBX, and then we can go in the exports folder right over here. Make sure to select selected objects. This will only export the objects that are currently selected, so not anything extra. And you can only select mesh from over here because we don't want to export all of the empty objects or the camera or the lights, we only want to export art models. And now we can just rename these two. Yeah, the file name is fine. I will just add one right over here. So that if we later on fix some of the issues and we can always rename this to two, three, and four to always know which file we are working with. So I'll just add a little one and then hit Export Bx. Now we can open up substance painter so that we can add the export file over there in substance Painter and see if everything is working fine. Alright, so now Substance Painter has opened up. Go to File New, over here. Select your export file that you just created and then hit Okay. Now quickly just go through your entire model and see if there are any issues. You can also disable or enable them from the texture set list, so you can disable all of them and just check for one of the texture sets and quickly see if you see, any shading issues or anything. We can check for the doors. But I think everything appears to be fine. Fine view, small acids. All right. Everything looks pretty good to me. Let's bring everything back and you can see the materials that we created in blender are the texture sets for substance painter. So now if you don't see any of the windows, you can go overhead to window views and you can enable or disable any of the windows, like the texture set lays properties, layers or texture set settings, all these things. Alright, so now the first thing we always have to do after we import anything into substance painter is to bake the mesh maps because to use like all of the nice features of substance painter like the smart materials, smart mask generators, we have to bake the mesh maps. So go into texture set settings and you can click on Bake mesh Maps. If you are running an older version of substance painter, you might see a different window, but don't worry, nothing much has changed. You will see this kind of dialogue box appear in front of you where you can adjust the settings of the bake. We don't need to do too much, just sent the output size to four k. You can also work with two K as well, but I will be going with Fouke. You can enable this applied diffusion and enable use low polymesh as high polymesh and finally, just set the anti aliasing to something like 16 x. And here are all of the mesh map that we will be baking. We can disable the ID map because we are not really using the ID map workflow. So yeah, these are all the setting that you need to make, and then just hit Bake selected textures. It will take a little bit of time to finish, so just wait for it. Alright, guys. So the bake is done now, you can just click on here, return to painting mode. And with this, all of our mesh maps are big. Just quickly look through for any kind of shading issues, but I think we are good to go. All right, so we will finally start with the texturing process in the next produce. So let's just hit Save one of files first, and I will just go over here and save it in the substance painter files. I will name it as anime Room, and then just hit Save. So yeah, this is it for this lecture, guys, thank you for watching. I will see you in the next month. 16. Texturing the Room: Hello, and welcome, guys. So finally, we can start with the texturing process. I have opened up our substance painter file, and I think I will start by texturing the room first so we can start by adding the textures over here, and then slowly, we can add in more details to texture it completely. So select the room texture set and also just make sure all of the required windows are open. The property stab, the layer stab, texture set list, and the assets. So these are like the important ones. You can go over here in your window menu in views, and you can just enable or disable them from over here. All right. So with that out of the way, just select your room texture set, and there is already a paint layer added to it. We don't really need a paint layer. What we need is a fill layer. So a paint layer is different. You can see you can easily paint on top of it. You can change the colors as well, and you have different colored strokes in the paint layer. But a fill layer is different as a fill layer would be a single color only. So just click on the fill layer icon, which is this, this fill layer is added. You can see if you change around the color, it is being added completely to your texture set, which is what we need for now. All right. So let's see. I will create a folder so that everything stays organized. I will click on here. You can create a group. Let's rename this folder to let's say walls because we are going to be adding the textures to the walls, and you can just drag and drop it into the walls folder. Rename this to base color. And let's see. For our walls, I think I will go with something beach or yellowish. I will also open up the PureRef as well so that we can kind of reference it from over there as well. So, we have this white or beach kind of color. I will click on here and let's see. Something like this probably. And now you can notice that the color is being added on everything. So which is not what we want, we only want it to appear on the walls. So there are multiple ways to do this in substance painter, like the way you can just separate out the layers. But I think the easiest one right over here is to just click on this, which is the geometry mask. You can click on here and right click and select exclude all. What Exclude A has done is the texture is now removed from everywhere, as you can see, the zero is written. So the zero basically means it is not being used by any model right now. You can click on here, and once again, you go into this geometry mask mode, and I can easily just select this one. So these are the walls and here I want the material to appear. And you can see how easy it was. All right. So let's create another folder now and rename these two tatami mats, which will be our flooring. Click on this fill there icon once again and rename these two, let's say base color for the tatami mats. So this way we can keep everything organized. And again, for this one as well, I think the color is kind of similar to them, maybe a little bit of green, but yeah, I will just click on here and let's see. There just a tad bit green. I think this is pretty good. Obviously, we can change these things later on as well, so you don't have to worry too much about it. You can just freely or roughly place them around for now. Also, once again, I can click on here, right click and exclude all because we only want to add this material on the floor. And this way, you can see easily how we have created a differentiation between the different materials. Let's add another filler, and this time rename it to something like dark lines, whatever it is, because I have to create the color for these lines. And for this, I think I will go with something like greenish, Okay. Maybe something like this. And then you can again this time click on here, and now you will notice that we run into a small problem where we cannot really use geometry masks now. So the geometry mask can only be used when there is different geometry involved. So as you can see, we have three different geometries over here, the flow, these wooden planks, or the wall. But now I want to add this dark lines material on these faces that we can see on the same geometry. For this type of thing, we are going to use a black mask. So a black mask is also similar to a geometry mask only where we can use it to decide where we want to show a certain material. In this case, we want the base color material to appear on everywhere of our floor, but the dark lines material to only appear over these lines. But the black mask will basically give us much finer control than the geometry mask. So select your layer, go over here and select at black mask. You will see now everything has disappeared because in substance painter, you can consider it like this. You might know it already if you have worked with Photoshop. In masking terms, black means like totally invisible and white means visible. So right now we have added a black mask, so it has totally disappeared. So let's say if you use your brush, and now I have this white color selected and I start painting, you can see that green color layer is appearing back. And the reason for that is because we are painting on our mask right now, as you can see, the mask is selected, and we have selected a brush tool, and I'm basically painting on that mask with white color. So as I said earlier, black means totally invisible and white means visible. If I from over here, change the color back to black, you can see it starts to get erased. But obviously, this is not the way we are going to add the color because it is too imperfect. We cannot really just sit around here and painting it like this. I will take ages for us to cover entirely. So just undo it, and there is a much easier way. You can click on this tool, select your mask and select this tool, which is basically the polygon fill tool. It has four different modes. So one of them is triangle fill, which I don't think I ever use that much. Triangle fill is basically it will divide your face into two triangles, and you can see it will fill them like this in two triangles. The other one is simply the entire pace, like the polygon film. You can select the entire phases at once like this. The next one is similar to the geometry mask itself where it is the mesh film where if I just click on here, you can see entire mesh is filled out with the green colored. And the last one is like the UV chunk film, which has specific use case scenario. If you press F one right now, you can see all of your UV start to appear right next to your TD mode. So the UV chunk fill will fill out depending upon the UV islands that you have created. So this is also pretty helpful sometimes. And as you can see over here, we have the lines created. So you can do it like two, three different ways. You can either select the polygon fill and then click on each and every single phase that we have over here to fill it out, or you can just select simply the UV chunk fill and click on here. And yeah, you can see how easily we have created that differentiation. Press F two to bring back your three D view once again and click on here. And you can see we have added the dark lines material over here onto our tatami mats. So yeah, that was pretty simple. I just wanted to explain a little bit about masks first. Let's select it, and I will make the color a little bit darker. Yeah, I think this is fine. Next, let's work on our wood. Or I think before that, I will just simply add a new layer. So add this layer outside of the folder. So select your folder and click on the fill layer icon. This is going to be our simple dust layer. You can double click on here and rename this to dust. Give it a darker color. And now this time, once again, we will be using a black mask, but we will be using a smart mask. Smart mask is like a feature in substance painter, where you can directly use all of these smart mask. You can click on here on the smart mask section and you can see you will find all these different smart masks for edges, for dust, like for paint shipping effect or like the surface rust effect, I will be going with a simple one, which is the dust oclusion. So just drag and drop it onto here like this. And right away, you will see our room is entirely covered in this dust or grime pattern, which I think does not really look that good right now, but don't worry. You can now click on this mask from overhe, I will come back to my paint tool. And from this mask, you can select on this generator. So this generator is basically which controls the smart mask. As you can see, we can control it. So the way we are going to do this is we have all of this, grunge appearing, so you can adjust the grunge amount from overhead. I don't want any kind of grunge, so set this to zero. And then next, just decrease the dirt level to maybe something like 0.26, I think. To add a fair bit of dust or dirt around the areas which it would be collected, you can enable or disable it and see the effect it adds, although it is really subtle, but you can see it will add like dust under the chair or under the table around these blanket areas or around in the corner. And now we can control the overall opacity of this layer from over here. So we can set this to maybe something like 65 to give it like a subtle effect, but I think it looks pretty good. Let's save one of files. And another thing that I want to do is I will just quickly open up the walls and this folder, select this base color, and I have noticed that right now only the base color channel is opened up. So the channels are different information channels. Like, let's say, if I click on this metallic channel now, I can increase or decrease the metallicness of the wall. Obviously, we don't need that so I will disable it because it will be by default set at zero. So disable this one, but we need the roughness channel. So the roughness channel basically decides how much light will surface would be reflecting. If I disable the dust for now to show it properly, select your base color and set the roughness to zero. You can see we get a very shiny surface. So zero means like completely shiny, all of the light will be bounced off. You can hold shift and use your right lick to move around the light in substance painter, and we can see the perfect reflections. And one is completely like no light is being bounced off, so that's why there are no reflections. So we can set it to somewhere in the middle like 0.4 for the walls for now. I will also select the base color over here. Click on the roughness. I think 0.3 is fine for it. And for this one, as well, I think 0.3 is fine. Because later on, we will add a bit of roughness variation. At that point, it would become important for these channels to be enabled. All right. Let's come back over here, enable back the dust and let's create another folder. This time, rename this to Wood, because we are going to create our wooden planks that we can see. Now for this one, to start off, I will be using a base material, so you can search for wood plane. Now, it might happen that you don't have this particular wood plane material in your substance painter because it might be a older version which does not have this one, so you can go into your resource files and in the substance painter files, I have provided you with both of the substance painter materials or features that I will be using. I will be also using the stylization feature, which is a newer one. In substance painter, as you can see, it will help to add like stylized effects to our like materials, which will give it that animal look, so I will be using that. So yeah, just make sure to drag and drop them like this. Into substance painter and over here, you can see already base material selected. You can import your resources to either your current session project or permanently to your library. So you can select permanently in your library. That way you will get them forever. And for this one as well, just drag and drop it and use it as a filter over here and just import it permanently. I won't be importing them again as I already have them. So just do that and I will now select the good playing material. Now drag and drop it into this folder. And now, once again, click on the geometry mask. I can right click, exclude all, and just select your wooden planks because we only want the material to be appearing over there. Sorry not like this, remove this for now, and I want to use it as a base layer. Yeah. Now drag and drop it into the folder. Alright. So that is pretty good. Obviously, the wood looks really, really bad right now, but don't worry, we'll make it work. First, set this to try prana projection, which will basically help you cover up any of the UV seams if there are any due to the UV projection. And let's see if we can maybe increase the tiling a bit to something like that. And also, you can come down over here, select your wood plain material, and make the color a bit darker like this. Alright, so now our base material for the wood is done. Let's add a bit of, what do we say damage or extra effects onto our wood to make it look better. So I will be adding some kind of edge damage. So create a new layer, rename these two edges. And for this one, I'm going to be using a smart mask. You can come over here in the smart mask section, and I will be using simply the edges strong. You drag and drop it over here, and you get something like this. As you can see, all of your edges are being masked out by the edge strong like smart mask. Obviously, I will change the color for this to something like, again, let's say, golden, something like that. And now select your mask, select the mask editor, to obviously play around with it a little bit. It is looking like really sharp right now, so decrease the contrast to zero, and also you can remove this sharpen filter, which will obviously smoothen it out a bit. Let's increase the global balance to somewhere around 0.5, and it will give us something like this. Don't worry. I think the rest of it is fine. I think now adding a stylization filter will make it look really good. So you can search for the stylization and just drag and drop it onto your wood material. Now, right away, it won't really look that good, but you can see we have, like, a lot of different presets from over here. So you can select the wood preset. Next, I will go over here in the texture set settings, increase the size. You can see the size set to one k right now. Increase it to two k. That will give us a little bit better quality to work around and just look at our material. And you can right away see by adding a stylization filter. It instantly looks so much like anime or stylize and it makes it look pretty good. Now, a couple of things to just improve that. Also, the wooden plank material should go over the roof, so click on here and select this as well. Yeah, pretty good. Let's see. I will select the stylization filter, and you can see we have a lot of different settings over here. You can go around over them changing them around. But I will just set the gradient and the baked lighting to zero because we don't need that effect. You can control the overall effects from the top over here. Like, let's say, I don't want the brush strokes, or if you want to reduce the stylization a bit, you can decrease the overall stylization from over here. You can control how much you want to add. But let's just set this to one only. You might notice that we get these white spots over here. These are because of the brush strokes, just decrease it a bit and they will go away. Now our good looks, I think it looks pretty good. Now to show you how we can make certain changes in our material to make it look better, you can go here in your mask Editor, just click on this mask and click on this add effect and add a paint layer. By using this paint layer, we can edit our mask now, so we are editing currently the edge mask. So you will notice that we don't get proper edges right over here, so don't worry, we can fix that on our own. Just use your brush, select your brush, make sure the color is set to white, decrease the brush size so hold control and use your right click and move it left and right to decrease the brush size. Now when you start painting, you will see you are adding the edge damage on your own. P I will also just disable everything else because it is kind of getting in between. And if you now press X, it will switch to black color where you can remove some of the areas if you don't want them like this. But I won't be, I will just undo it and bring it back. I will control the stroke capacity a bit. I will decrease the stroke capacity and then maybe make these areas a little bit fainter like this. You can also click on here and select any of the different brushes. So let's say I select where is the dirt brush over here. This will give you a little bit of pattern when you are working around. You can also see we have a bit of spot. So press X once again. Make sure to reduce stroke opacity and just cover up this area a little bit. You can see how easily by adding this paint layer, we can edit out the mask. I will press X and maybe remove a little bit from this area as well. Increase the stroke opacity a little bit. Yeah, that's good. I All right. Now I'm liking the way our wood is looking. If you want to edit it out, you can edit some of these areas as well. But overall, I think the look of the wood is pretty good now. We get that stylized animal look now. You can also cover up these areas where you get, no edge damage, increase the stroke capacity a bit, and then you can easily just paint around with your brush. Maybe a little bit over here like this. A All right. Let's come back now and with this, let's look at our wood material. I think it looks pretty good now. You can see how much effect the stylization filter adds. I just make sure to add it. If you have the latest substance painter version, it will be added by default. But if not, I have given you the SBzRFle, you can just drag and drop it into your substance painter and just use it directly. All right. Now let's just hit save. I think this much is pretty good for this lecture. We will continue obviously adding different materials to all of the other assets as well. Thank you for watching. I will see you in the next one. 17. Texturing the Doors: Hello, and welcome, guys. So let's continue texturing our environment. And first, what I will do is, as you can see the walls and also the floor, as well, look a little bit less stylized as compared to our wooden planks. So it kind of looks like a little bit of a mismatch. So we can do, like, a couple of things to fix that. So right now, as you can see, if you open up this wood folder, so select your room texture set, and if you open up the wood folder, right now, this stylization filter is only contained to this folder only. That means only the wooden planks. So what we can do is we can just copy this stylization filter. So just press Control C and paste it outside the folder and just bring it down over here below the wooden one, so that it only affects the tatami mats and the walls like this. As you can see, as soon as we do that, we get a little bit of the stylization effects. Obviously, it looks a little bit weird, but don't worry. Next, what I will do is I will also copy this dust layer, so copy it and just select over here and paste it so that it gets pasted right over here. So what this will do is it will add these small like dust in the corners and the crevices, as you can see, which gives it a lot more of the stylized effect. Obviously, to fix all of these brush strokes, you can select your stylization filter, and let's go over here and select maybe painterly, or maybe we can try the hand painted one. I think this looks a little bit better. If you get this weird color right over here, just decrease the baked lighting, and that will fix automatically. And next, we can go under the brushstrokes section and first start by increasing the stroke amount. To a huge number, maybe around somewhere around 3,000. And you can see that already fixed a lot of the issues with the strokes and they are a lot more smaller now. And now I think you can notice that the walls look a lot more stylized now, even though it is, like, really subtle, but we have added a little bit of that effect, and I think it looks pretty good now. So yeah, let's continue. I think we are done with the room texture set. I will select the wood folder, so just select the wood folder and copy it and come over to the doors texture set. And now we can paste it over here, so just control V, and I will remove this old paint layer and click on here. And we can select this part, this part, this one, this one, and these two as well. And I think the wood material looks pretty good for them as well. I think it fits right in. All right, so now it's time to texture these doors. Let's create another folder and rename these two doors. Start by adding in a fill layer, and let's give it some random color for now. And you can right click over here and exclude all and just select this, this, and also this small object. All right. With this, we have separated it out and start let's rename the two base. Now we can just make this base color like a dark color. Something like that, I think. And also, you can increase the texture set size from one k to two K, just so everything looks a little bit better. Yeah. Let's come back to the layer stab now and we can add in another filler. This time, just rename this to white. And for this one, we will just add a black mask and again, go over here and select this tool and select these four faces. And yeah, with this, we have the black borders over here and this white that will act as the front of the door. Yeah, I think that's pretty good. I will select the layer and maybe increase the color to a little bit more white somewhere around here. I think that's fine. Let's add another layer and rename these two edges. Again, go over to your smart mask section and we can use this smart mask. I think, once again, edge strong, so just drag and drop it right over here. I think this one is pretty good. I will remove the sharpen effect. We don't really need it and also decrease the contrast as well. Let's see. For the balance, maybe we can stay somewhere around here to give it a little bit of chipped off effect, as you can see over here. Maybe let's go with something like this. Now we can once again just quickly add in a stylization filter as well. Just click on here and just drag and drop it on top of this. And get something like that. So once again, just click on here and maybe change it to painterly. Try out a couple of them. I think this one is again, fine. I will go with this one. Remove the baked lighting effect, and also do the same thing over here, increase the brush strokes so that they are a lot more smaller and not as visible. Yeah, I think this looks pretty good. What you can do is you can go over here and decrease the overall opacity of the brush strokes so that they are not as much visible. I think this feels pretty good. Also for the edges, as you can see, now they feel like a lot more brighter. So just go over here and decrease the opacity, maybe something like 30, 25, whatever. But just to keep it really subtle. Yeah, now I think it looks pretty good. If you want, you can also click on here and add in, like, a paint layer, select your paintbrush tool. Make sure to decrease the size of it, so just hold control and decrease the size. And you can paint on here like this if you want to. Just to add a bit more of the edge damage if you want. Yeah, something like that, but I don't think I want to do that, so I will just remove it for now. And yeah, with this, I think our door is starting to look pretty good. Let's add one another layer. I will select the base layer only and copy paste it, so just duplicate it and drag and drop it on top of this and just rename this to something like dust. And for this one, add a black mask and go into filter section. And in the effect menu, this time add enough fill layer. So this time using a direct smart mask, we can use like a grunge map. So go in the texture section and you can search for black and white spots. And I think these sometimes give you, very nice results, so we can drag and drop it onto here like this. And you can see if we get this smudgy effect because of the stylization layer that we have added. Now it's pretty simple. What we do is we basically just select it and decrease the opacity of it because we don't want it this much. We just want a little bit of shade of it. So yeah, I think 30 would be fine. Because we want the effect to be really faint. All right. So now we have done the basic setup of the doors. But if you open up your f now, and I will just show you we have kind of a special type of design. So just load your scene. And if you notice the doors look something like this, we have this kind of pattern over here. So I think I will try and replicate this. So how we can do that, make sure to select your stylization layer and then add in a fill layer so that it gets added on top of it because we don't want to add the stylization effect on here. So that's why we will add the layer on top of it. Renamed this to something like pattern. And for now, we can switch the color to anything like maybe something like this, like, completely red. Now, add in a black mask and we can basically use a paintbrush tool to start painting. So how we are going to create these square shaped things first Turn off everything so that we can easily focus. And you will see we are currently in a perspective view, so we cannot make the door completely flat as we do in blender, but you can't do it from over here. Change the perspective Veto orthographic. And this will make it flat like this. Now press F to focus. And if you now, let's say you hold At to move around your scene, you can hold at and shift, so hold At and shift, and then use your mouse and you can snap it in different views very easily. So just bring it in the front view like this. Alright, pretty good. I will just place it somewhere around here where it is not as much bothering. Okay, so now to create these, what do we say? Like these patterns, we have to use the Alpha. So for Alpha, you can search over here. Click on this once again so that you can search in the entire shelf and search for square. And you will find this square rectangle Alpha, which is present in every substance painter, it is added by default. So just double click on it, and it will automatically be added on your brush. Let's undo this. And if you scroll down over here in the property stab, you will see. You can also adjust the size of your like the rectangle. So if you decrease the X, now you can see we get a much longer rectangle like this. So adjust the X size. So maybe something like 0.7. And this is like a little bit of trial and error where you have to, like, now place these this way. Like this, like this. But now, as you can see, there is a little bit of space left, so I will just quickly undo it and you have to do, a little bit of trial and error. But I have already done like I have found the perfect value, so I will just quickly set them up and you can also do the same. You might have to do it a little bit differently if the scale of your door is something else. So now you can just set the X size to something like 0.6 and also increase the brush size to somewhere around 6.8. I think this will give me the perfect values. And you can just quickly go into the corner, stamp one of them, and stamp one on the edge of the another and just do it repeatedly like this. Yeah. I think something like this looks pretty good. Now we can just continue this over here as well. Do the same thing. Yeah, as you can see, we have created a similar pattern over here as well on our doors. If you want to fix, a couple of the areas, as you can see in the bottom, we do see like a little bit of space, so you can just decrease the size of your brush now and just carefully stamp it like this. So it is like a little bit of manual work, but we have to do it sometimes to create things like these. So yeah, do that. Y. I think it's fine. Just fixing up the corners over here. I think the rest is fine just to this one. E. All right. With this, I think the pattern looks fine. Now you can just set the X size to one and decrease the Y to create the smaller lines on top. And you will notice that we get a much thinner rectangle this time. So hold control and use your right click to increase the size of the brush, and you can just stamp it over here on the top like this. But I think this line is a lot more thinner. So just decrease the size to 0.01. Maybe a little bit more to 0.0 075. We just make it very really thin. Now I think this is pretty good. And we can do the same over here as well. Once again, just increase the size of the rectangle and quickly fix up some of the areas. I think in the corner over here as well. You can also press X. So by pressing X, you can see the color will change to black, and now instead of painting, you can remove it. So we want to remove it from these areas, make it, really, really small and just remove it from this black part. Yeah, I think that's pretty good and just remove it from over here as well. All right. So yeah, with that, we have created our pattern. Now we can just select it and maybe change the color to a similar color. You can also use your dropper and just place it over here and select it. But I think the color over here is like a little bit bluish, but because of the light, it is coming out as brown over here. So change you to somewhere around here, I think. And I will decrease the saturation to better match it with the color over here. I think this feels a lot better. Yeah, I'm pretty happy with the color like this. Also, now we can create these random square patterns that we have on the top as well. So once again, just click on your mask, increase the size of it, and for this one, we can maybe stamp one over here like this, press X to switch back to white color, add one over here. Maybe change the dimensions a little bit. Once again, again, change them up, stamp this one like this. Okay. You like this. Yeah, I think that's pretty good. Maybe I'll do a smaller one over here. And with this, I think, yeah, it looks pretty good. Now just press X to switch to black colour and remove the part from this. And yeah, perfect. I think we have created pretty nice looking patterns, and I'm happy with them. Let's see. Let's come back to the perspective view and I will move the pure ref out and let's bring everything back. And yeah, I think with this, I'm pretty happy with how everything is looking. I will also select the dust layer, copy paste it once again and just bring it on top of the pattern as well. And this time, remove the black and white spot fill layer. And again, I will just directly use this dust Oclusion smart mask. We have to edit it out a little bit to select the dirt layer and decrease the grunge amount, decrease the contrast as well. And just increase the dirt level to somewhere around 0.3 or 0.25, somewhere around here. Just to create these smaller dark spots in the bottom. I will increase the opacity a little bit somewhere around 60. And with this, I think our doors look pretty good. And yeah, I think this is pretty much it for this video, we'll continue from here and create more textures. In the next video, we will be texturing the cupboards. So yeah, thank you for watching, I will see you in the next one. 18. Texturing the Cabinets: Hello and welcome guys. So let's continue texturing our environment. And in this video, we will be adding the textures to our cupboards. But before that, what I want to do is, as you can see, this door right over here is, like, pretty empty, so it does not look that good. This one has, like, this pattern right over here. So for this one, we can add maybe some sort of painting type of design, which is pretty common in Japanese style houses. So if you open up a files in the reference images and textures folder, you will find these two painting alphas that we can use to just tamp onto our door and give it a little bit better look. So just select them both, and now you can drag and drop them into substance painter, so onto your shelf and make sure to select them both and import them as Alphas. Now you can import them to wherever you want, either to the current session or to just this project, or you can import them permanently in your library. I will be just selecting this particular project and then hit Import. Alright. So now you can start by just disabling everything in the texture set list and just enabling your door. Let's select the doors taxi set, and we can start by adding in a new filler and rename this to something like painting. We can change the color to something random for now, so just set this to red, and now just add in a black mask. And now if you start painting around, you will see this red color will start to appear up. But now just double click on your Alpha that is added right over here, and you can see you will easily be able to stamp it on your door like this. So you can hold Control and use your right click to increase the scale of this Alpha, and we can maybe just maybe use the orthographic view. Or no, I think it is better to stay in perspective and just increase the scale of it like this and stamp it. I think it looks pretty good. The only issue we have is that the color is kind of leaking onto this blanket also, which is placed in front of it. But I think there is a really easy fix for that. You can double click on this one and select that and now go here and place it just about here like this and stamp it once again. Now, again, the color of the mountains is appearing onto our blanket. So to fix that really easily, what we can do is we can just move this painting fill layer into our doors folder so that it will stay contained inside this doors material set only, which is only being added to these two doors. So yeah, that works perfectly for us. Now you can select the color for them. So just select the layer and we can play around with the base color. If you want, you can go with something like black. Which will also work fine. But you can also go with this color also, which we use for the doors over here. Just make it a little bit saturated and a bit bright. So, now it's totally up to you which color you want to go for. I think this also looks pretty good. I will just quickly select the base layer once again and make the color maybe a tad bit darker. Yeah, I think this is fine. We can go ahead with this. If you want, you can maybe tone down the opacity to something like 85. And yeah, I'm pretty happy with the look of it now. Let's move ahead and select the big assets stack you set. Let's just select this layer and delete it and click on this ad group icon, so add a folder and rename this to Wood underscore cupboard. We will be creating a separate new wooden material because I don't want to reuse the same one that we created for the planks because then it will look like really too much of the same wood material, so we have to create a little bit of variation here and there. So yeah, let's create this one from scratch. We can add in a fill layer and rename this to something like base, select it and click on the base color, and we can go for something like kind of brownish wood type of color. Yeah, I think this works. Obviously, it looks really, really flat right now, but don't worry. We will be adding some layers on top of it to make it look better. So yeah, just click on the fill layer icon to add another one renamed to as usual dust, and we can give it like a darker color. Let's remove this filter and click on the Smart mask icon. And again, I will just use the dust occlusion one because it works really well to add the dust in all these corners. Select the mask and turn down the grunge amount to zero. We don't need any kind of grunge, decrease the contrast a bit and also decrease the dirt level maybe like 0.25. And, you can see all this dirt is added. Maybe we can tone down the opacity to something like 65. I think that's fine. Now to give it that proper wood look, what we will be doing is we'll select the dust layer and just copy paste it. So press Control C, Control V. I'll just rename this to something like wood. Lines. So generally, wood materials will have this kind of fiber like lines going through. So we can create something similar to that. For that, we need to select the mask and remove the generator. And instead, we will be using something like a fill layer, so select the texture cycon and go into here. And now just make sure to select your mask and add a fill layer to it. Now, you can search for something like directional noise, which will give you that similar effect of these lines that I was talking about. You can just drag and rob it over here. And you can see we get those fiber type of lines that wood usually has. And now the problem that we might face is that the lines are not in proper orientation. Like, for example, over here, they are going horizontally, but over these areas, they are going vertically like this. And over here as well, we get the same issue. In some areas, they are horizontal while in some areas they are vertical. So to fix this very easily, just select your mask, just make sure to select your mask and change the projection from UV to triplanar. That will give it like one uniform projection, and you can see now on all sides of the material, we are getting the same horizontal lines. You can also increase the size to two plate so that we can actually see the lines properly. You can also change the rotation of them if you want to have them. Vertically, instead of horizontal, that's totally up to you which direction you want to go for. But I think this looks a lot better. Now, you can select the mask and play around with something like the contrast and the balance to make those lines more contrasty or if you don't want any contrast at all. You can also play around with the tiling if you want to. Maybe we'll increase a bit, not that much to something like two. Somewhere around 2.4, 2.5 to add a little bit more of the lines. Now you can decrease the opacity to something like 50 and with this, we are starting to get somewhere, and now I will just add edges layer. So for this one, we can directly copy it from the doors or the room texture set we have created. So just open up the wood folder, select the edges layer, copy it, and come back to this big assets texture set, and you can just directly paste it right over here. We get something like this, select the edges mask, and we will start by just decreasing the global valence. We don't need it that much, we will be fine with something like I think somewhere around here. Now, just tone down the opacity a lot to maybe something like 35 men. And you can see, we get a different type of wood material, which I think also looks pretty good. If you turn off all the layers, you can see how they build upon each other. So this was the base, then the dust, all these lines, some edge damage. And yeah, this gives us a really nice stylized look. You can also add the stylization filter on top of this if you want to. I'll just also first remove this paint layer. We did not really need it. Search for the stylization filter. And just drag and drop it on top of here like this. You might have to play around with the settings a little bit. I think I will change this to wood. Set the brush strokes to zero. We don't really need that. Not the gradient, all these things. I don't think I want them. Increase the smoothness a bit. And yeah, I think now this is fine. Yeah, I'm happy with that. I will maybe push back the opacity of this to even 40. Yeah, with that, I think our wood material is starting to look really nice. Now obviously, for all these handles, we will be not using the same material. So just search for something like a gold material. And now you will find this gold damaged smart material, which is added by defaulting substance painter, so you can just drag and drop it on top of this wooden material. First, let's just turn it off and select the wooden material and deselect it from all of the handles. Oh here as well, just deselect all of it. Now, select the gold layer, bring it back. First, I do want to edit this gold material a bit because it is a bit too dirty, remove the dirt layer. We don't need that. This as well, roughness stains, roughness grains, surface grain as well. So yeah, I think this is fine. We don't want, all of those details. Maybe you can enable the dirt and just tone down the opacity a lot. Or I think, no, I will just turn it off only completely. Now let's just click on the geometry mask, right click and extrude all and carefully select all of the handles. Yeah, that's pretty good. I think the material looks very nice. What you can do is you can copy this dust layer, so copy it and paste it over here on top, just to add a bit of dust effect into this gold material. You can increase the dirt level. And yeah, with that, I think I'm pretty happy with how this is looking. Let's just say Save. And with that, I think we are done with this lecture. We'll continue from over here in the next one. Thank you guys for watching. I 19. Texturing the Table and Chair: Hello, and welcome, guys. So let's continue texturing our environment. And in the last lecture, as you guys know, we did the texturing for these two cupboards. But also the wood material is appearing over here on the chair as well, the cupboard wood material. And that is because they are part of the same texture set. So what we can do is we can just select our wood folder over here that is for the cupboard and click on the geometry mask icon and just remove it from the chair like this. What we will do is we will use the same wood material only, but we need to make a few changes here and there to make it look a little bit different to the cupboard. So just select press Control C and Control V, and you can move it right here at the top. We can rename this two wood underscore chair. And then just again, right click on the geometry mask, exclude all first, and then just select the chair parts. Make sure to deselect the seat. We do not really need the wood material over there. And yeah, that is pretty much it. All right. So now what I want to do is I basically want to edit out the color a little bit. So instead of editing out all of these different layers, what we can do is there is a really easy way. You can add a new fill layer. So now for this particular fill layer, we do not really need any kind of channel, so you can disable everything. Basically, this layer is totally empty. But what we will do is we will just rename this to color change. And you can add a filter to this, add a filter and search for the filter HSL perceptive. And now using this filter, you can change the hue, saturation and lightness. It won't work right now because the blending mode is set to normal. But as soon as you send this to pass through, you can see that the color change is starting to show up on your wood material now and you can play around with the sliders to change it. Basically, the pass through blending mode will help this filter to pass through and affect all of the layers that are below it. That's why we can have this just one single filter to control the colors of this entire layer. So yeah, we don't want to do too much. We just want to make it a little bit different than the original color of our wood covered material. So first, we can just bring back the hue to 0.5. So 0.5 is the default value, so maybe we'll push it to something like 0.51, two. Yeah, I think this feels a little bit different than the original color, but still feels like wood as well. For the saturation, we can increase it to 0.55 to make it a bit saturated. And the lightness is, I think, fine over here, maybe a little bit more. And yeah, now, as you can see, if you enable or disable this layer, basically we have this color change layer that will affect its color and make it a little bit different than this original wood covered material. And I think I'm happy with it. I will select the edges layer now and maybe make it a little bit desaturated and just increase the value a little bit. Make it appear like kind of white and also decrease the opacity of it from over here to maybe something like 25. And, I think I feel this looks a lot better. Select the stylization layer and just check if it looks better, enabled or disabled. I think it looks fine like this. Maybe I will decrease the opacity of it a little bit. I think this was fine at 0.5 only. With this, I think I'm happy with the hair material as well. Let's create another folder and bring this folder out of the wood material and rename this to seat. This is going to be pretty simple as we are going to create a seat material. So quickly just open up your ref and we can see how the seat or the wooden chair looks right over here. So we have something like this. Let's try to create something similar. Make sure to right click on here, exclude all and just select the seat. For the space color, you can also just use the dropper tool to drag and drop from over here, and we have something like that. Maybe just desaturate it a little bit and make it a that bit darker. I think this would be fine. Next, we can just add those simple layers like the dust layer and give it the dust occlusion mask. Make sure to just make it dark in color. I will set the grunge amount to zero, and I think the rest is fine like this only. Just tone down the opacity. Let's add another edges layer. This time maybe we can go with something like the edges blur. It will give you this type of result, select the mask edita, maybe increase the contrast a little bit and decrease the balance, just a tad bit, decrease the contrast as well. I think this is fine. Now I will select this color only, copy this X code so that I can use the exact same color for the edges, and then make it a little bit darker or brighter to give it color variation as well. Maybe we'll make it a tad bit darker. And just desaturate it just a little bit. I think this looks pretty good. Decrease the opacity just a little bit to something like 80 and let's create another edges layer. But this time, change the color to almost white and change the mask to something like edges strong so that we can have this type of layering effect. Select the mask editor, remove the sharpen filter, set the contrast to zero. And this way we can have some layering of damage. Make sure to decrease the opacity to something like 60, I think. Yeah, I think this is fine. And now I think the seed looks pretty good. So you can see we have added like four very simple layers, a base layer, some dust, some edge damage. And yeah, I think this is pretty good. We can also add some layering of dust over here as well with grunge maps, but that would make it look a lot more realistic, which I don't want to go for. So yeah, I think this is pretty good. Let's just hit safe, and we should move on to the small assets texture set. First, I will select the room one, and we can copy this wood material. So just copy it and bring it over here in the small assets, delete every layer and just paste it. I will select geometry mask icon and add it over here. So this can be the same wood material as the room one. I think this is fine. Now for the table, I think, again, we have an option to either copy the wood material from the cupboard or the planks, or we can create a newer one for this. I think this is going to be the last one, so let's quickly create another wood material for the table. So rename this two good underscore table. And we can start by adding in a filler. Not a filler. This time let's go into the base material section search for wood plane. And if you don't find it over here, I've also added this in the course files as well, so you can directly use it from there as well. Just bring it in your shelf and you can use it directly. So I'll drag and drop it over here. Let's remove this filler. First right click on the geometry mass, exclude all and just select the table parts. Now, we need to play around a bit with the settings. First, I will set this to triplanar, I think, and let's increase the tiling. Let's go with something like this. Now I don't really want all of these fibers to show up. So I'll just decrease the fiber spread to zero. And also, what I will do is I will set the ans density, which is this to zero as well. So we get this type of look which already makes it look a lot more stylized. And now I will just open up the three D projection settings. Let's set the tiling to two, and what I want is I don't want this part to show up, so we can adjust it by offsetting it a little bit like this on the z axis. Yeah, I think this is fine. For the wood color, maybe I'll say this to point to. And yeah, I think this is fine. Let's select our filter. For the filter, I will make the wood a little bit brighter, so increase the lightness and also desaturate it just a little bit. Yeah, I think this is pretty good. Let's select it back once again. Move it around and yeah I think this looks pretty good to me. Now we can continue. I think the base is fine. Let's add another layer, and this can be the directional noise. To add all those wooden lines. Let's send the color to black. And now we can open up the texture section of the shelf and search for directional noise. Let's drag and drop this one. First, add a black mask and just add a filler, and now you can drag and drop it over here like this. Let's first just set this to triplanar, and yeah I think that's a lot better. Let's increase the tiling a little bit. Yeah, that's fine. And also now just decrease the overall opacity. Maybe something like 60, I think 60 is fine. Obviously, we'll add the stylization filter on top of it so that will make it look like better. Let's copy this directional noise and just copy paste once again to duplicate it. Instead, rename this to color variation. And for this one, we are not going to use a dark color like this. Instead, we are going to use a similar color to wood. So just select something like this. Yeah, I think this is pretty good. Now we can just select the mask and maybe first offset this a little bit. So move it around like this. And now you can increase the balance for and also increase the opacity from over here to 100. Let's see. Yeah, as you can see, now we have added some type of color variation on top of it as well. So this was our base layer, then the directional noise, and then some more directional noise, but with a different color so that we can add some color variation on top of our material, and also it will kind of help us to break up this pattern of the directional noise, which already looks pretty dark. So that's why we can add this lighter color on top of it. So yeah, I think this is pretty good. We can just finally add something like edges layer, which I will just directly copy from the other texture set only. So you can just copy the edges layer. So press Control C and come back over here in the small assets and just paste it. And I think something like this is fine. Let's see how much opacity we want to go for this. I think 50 between 50 or 60 would be pretty good. Let's finally search for our stylization filter. Just click on here once again to search in the entire shelf and drag and drop it on top. And let's see what preset we want to use. We can choose wood or we can choose the painterly one. Yeah, I think this looks pretty good. As you can see. So this changes the realistic feel of the wood material to something a lot more stylized. And yeah, I think this looks really good now. Let's just sit save. And with this, we have created all of the wooden materials that we were going to create for this environment. Also if you want to use any one of them as a smart material, like if you want to reuse this wooden table material later on in any other project, first always make sure to put it inside a group or a folder like this. Then just select the folder right click and you can create smart material. This way, it will start appearing in your shelf right over here, as you can see, wood table, so you can just drag and drop it easily and use it anywhere you want to. So this will make it a lot easier for you to, like, reuse materials. So yeah, just make sure to, like, create smart materials out of all of the cool materials that we have created. And yeah, with this, only the smaller assets are left to texture, which are going to be relatively easy. So thank you for watching, I will see you in the next one. 20. Texturing the Fan and Boombox: Hello, and welcome, guys. So let's continue texturing our environment, and all that is left are these props. So first, let's start by texturing these calendars, which is pretty simple. Select your small acid texture set, and we can start by creating in a new group, rename this two calendar. And we can go into our reference images and textures folder and just drag and drop these two ones. So this one and this one. So just drag and drop them into the shelf and make sure to import them both as textures. I will select my project and hit Import. Now with this, you can just simply add in a fill layer, and then let's just drag and drop in this first one into the base color like this. And now you can maybe just add in a black mask. Go in here, select the polygon field tool and just select these faces. So make sure select only these and not the top part because we only want the texture over here. And then we can again select our layer. Now you need to press F one. By pressing F one, you will see this UV window will pop up so that you get both the three d view as well as the UVs as well. So if you now move around your texture, you can see you can easily move it around. And let's say I place it somewhere around here and just hold Shift and scale it down like this. One thing that you can do is currently the texture is repeating, so you can set the UV wrap repeat to none. What this will do is it will only make the texture appear once in your model. As you can see, the rest of the area is empty. So this way we can easily place it. So right now, as you can see, it is flipped around, so hold, sorry, hold shift and just rotate it like this. And now you can easily just scale it according to the, like the UV island. With this, now it is placed perfectly, and we can now set the UV wrap back to repeat. So that it repeats back at all of the other areas as well. I'll increase the scale of it just a little bit. And yeah, I think this is pretty good. Now you can add another filler and drag and drop the second one. And this time again, add in a black mask. Make sure to select these faces only. And once again, let's just scroll out, move it around. I will set the UV wrap to none, scale it down. Make it fit with the UV island. You can hold shift and just again, rotate it around and just scale it accordingly. Alright, guys, I think that's pretty good. Let's set the UVA back to repeat. And with this, we have created our calendars as well. Let's rename this two calendar two. Sorry. This one can be calendar one. Make sure to add filler and add it at the bottom of all this, and you can just make it entirely black. So that the top part automatically gets this black layer. And as you can see, the fill layer is added to all of the other assets as well. So you can just click on this folder icon, right click, exclude all, and just select these two. With this, we have created calendars as well. Rename this two base, and let's add in a stylization filter so you can search for stylization and drag and drop it on top of all this like this. Instantly we get something like that. We don't want it to look like too much stylized. So first, send this to painterly. And then, even though I think we can work with this because the background details in an animacne are pretty like washed out as well. They don't have too much detail, but you can adjust it by adjusting this stylization like slider. So if you set this to completely zero, you can see now we get our old textures back. But as we keep on increasing it, they kind of fade out. So maybe we can set it somewhere in the middle like 0.5 to give it that painterly kind of look. Yeah, I think that looks pretty good. I think I will set the brush strokes to zero so that we don't get this layering. Yeah, I think it is fine without it. I'm pretty happy with the textures. Let's move ahead. Next, we can texture this fan part over here. So let's create another folder. Make sure to place it outside. And let's rename this two just simply plastic. Add in a fill layer, rename the two white. And also now we can just press F two once again so that we are back in our three D view. Select this white layer and you can also enable the roughness channel. And first, let's make the base color a bit more bright. I think this much is pretty good. Then we can also decrease the roughness a little bit to make it like reflective, something like maybe 0.15. And then we can click on here, right, click exclude all and select this part, this part, this, this, and this thing. We can also give the same material to the buttons as well, as we can also see in the PureRef reference image as well. So I think this much is pretty good for the base itself. Let's create another layer outside of this and rename this to iron. We don't really need a folder for this because it is going to be a single layer only. So what you need to do is you can just enable the metallic channel and the roughness as well and just set the metallic to one. Now it looks like a metal, and we can decrease the roughness to something like maybe 0.2. Also make it just a tad bit more bright. One other thing that you can do is to make it look a little bit better. You can select your iron layer and go over here and add in a filter. And let's search for the filter matte finish. So basically, these are different material finishes, you can select them. So this is like the matte finish galvanized. So it will give your material like different kinds of looks so you can just experiment through with them if you want to. But the one that I'm going to use is the simple one matte finish rough. It will basically give our iron a little bit of worn out or rough look, which I think is pretty good. You can adjust the scale or like the scale grunch from over here. This is pretty good. The overall intensity can be controlled with the brushing intensity like zero. It's pretty light, we can maybe set it somewhere around here. Also, we can increase the size of the texture to two k in the viewpoard so that it is a bit more better to look at. Yeah, I think this is pretty good. I'm happy with this. Now we can just select our iron material right click and exclude all and just select this part, this part right over here. I think this as well and this one. I think this much is pretty good. For the plastic layer, we can maybe add in a fill layer and make it like a dust one. Add a black mask. And come over in your smart mask section and we can just drag and rob this dust oclusionH something like this. Make sure to enable roughness for the roughness channel for the dust as well so that we can increase it a little bit like this. As you can see if the dust is really reflective as well, then it would start to look a little bit weird. As now the dust is also reflecting back a light which you don't want, so make sure to increase it somewhere around 0.5, and then we can select the dirt layer, set the grunge amount to zero, and adjust the dirt level to something like that. Then just overall decrease the opacity to maybe something like 50. Yeah, I think that's pretty good. It's really subtle, and it looks right. Let's rename this to dust. Also, if you look over here, we have like this a little small outline along here, which we have also created in our model as well. So we can create that as well. Just duplicate the white layer soups Control C, Control V and just make it black. Make sure to disable everything else. Now select the small assets. Add a black mask. We can set this to orthographic view and press F to focus. So basically, orthographic will make it completely flat. Hold Alt and Shift, snap it like this, and then we can just select the mask, select our polygon fill tool, and just select these polygons like this. You can now press X and just make sure to select anything extra. Just deselect that part. I think we should also deselect this part as well. Again, select it and just make sure to deselect it like this. I think that's pretty good. Make sure to select any of the faces that are left. And we can rename this layer to black. And, yeah, I think that's pretty good. Let's send this back to perspective and bring everything back as well. In this we are pretty much done. Just have to add the fan material now, so create another folder and rename this to fan. Let's add a fill layer, rename this to base. And now for the color of the fan wings, we can go with something similar as we have in the reference image, which is kind of this kind of color. So you can also just use your dropper tool and select it like this. But maybe we'll make it look a little bit more like bright. So increase the value and the saturation. Because we are going to add a little bit of dust on top of it anyway. So yeah, I think this is pretty good now. We can go with something like this. Right click on the fan folder like the geometry mask over here, exclude all, and just select this part and this part. I think the base looks pretty good this way. Maybe just desaturate it just a little bit. And now we can add in the dust layer that we have created. So press Control C and just paste it right over here in the fan folder. Yeah, as you can see, it will add, like, a little bit of dust buildup, which I think looks pretty good. And finally, we can add in something like a edge damage layer as well just to show a bit of edge discoloration. And for this, again, I will just use this edge is strong. You can see we get something like this, which looks pretty weird, but don't worry. First, we'll just remove the sharpen so that the edges are not as sharp and set the contrast to zero and maybe increase it a bit like this. And now you can just adjust the opacity to a really low number, something like this, which will make it look as if the edges of the fan blades have faded out with time. Yeah, I think now I'm pretty happy with how the fan is looking. And now we can texture maybe our boombox. So let's just select this and add in a new group, and we can rename this to boombox and simply let's just add in a fill layer. Click on here, right click and exclude all and just select the parts of this. Yeah, let's rename this two base. And this is going to be fairly basic. First, let's just set the color to something like pretty dark, maybe something like that. And now you can just add in another layer on top of this. Make sure to enable metallic and roughness for this and set the metallic value to one so that now we can just simply add in a black mask and drag and rob maybe something like the edges blur Smart mask. So just drag and rob this. And it will give you this type of result. So what we need to do is first, I will just select the mask itself, decrease the global balance and also increase the texture value. To add a bit of unevenness, as you can see, if you set the texture value to zero, it is completely like uniform. But as you increase it, you will start to see a little bit of breakups here and there. So I just increase the texture value to one, and then maybe we can increase this a little bit. And I will decrease the overall opacity of this maybe something like 25 Let's select this. Maybe make it a little bit brighter, just a tad bit. And now, as you can see, it looks pretty good. All right, so now we have something like this. Make sure to set the metallic value to one for the edges. If you set this to zero, it will look like pretty weird. So just make sure to set the metallic value to one. You can maybe decrease the roughness as well to something like 0.25. I think that's fine. And then make sure to just rename these two edges. And then I will also just duplicate this layer so Control C and Control V. And this time, select the mask and remove the mask editor. And basically, now I just want to add the metallic material overall on this part, like this part right over here. So instead, we can just select the polygon fill tool and select this part and maybe these three sliders as well to give them a little bit of material variation. And with this, I think I'm happy with the look of our boom box. It's fine. The switches look a little bit weird, so we can maybe create another folder inside the boombox folder only, rename these two switches, and maybe just add in a fill layer inside. And let's try adding something like the dust oclusion. But make sure to click on the geometry mask, right click, exclude all, and just select the switches only so that we get some kind of breakup on top of them. Not just the dirt level. Or instead, I will remove this and use something else. Maybe try this dust surface and now increase the level, so you decrease it. I'll remove this one as well. Let's try the edge strong mask. I'll remove the sharpen filter and also set the contrast to zero. And I think this one is fine. We can work with something like that. And with that, I think our boombox material is looking pretty good. So yeah, let's just hit Save. And with this, I think this much is pretty good for this lecture. We will continue from here where we are going to texture the remaining of the assets. So thank you for watching. I will see you in the next one. 21. Texturing the Remaining Assets: Hello, and welcome guys. So let's continue texturing our environment. And in this lecture, let's just texture all of the remaining smaller assets. So I'm just going to start with the cardboard boxes that are over here. So select the doors texture set. I think it is in the doors one, yeah. And then you can go into the starter assets, and then in the base material section, you can search for cardboard. So this paper cardboard material should be present in all of the substance painter versions, so you can just drag and drop it onto your cardboard box like this. And then we can create a folder. Let's rename this folder to cardboard. And just drag and rob your paper cardboard like layer into here. Right click on the geometry mask, exclude all and just select these two only. And then you can make some changes over here if you want to, like, changing the color, the roughness. I will maybe set the grain intensity to zero because I want it to look flat. And I think rest everything is fine. So basically, it is a bit too detailed right now. We don't want it like this detail. So we can search for the stylization filter. Now make sure to come back to all libraries and also click on here once again so that you can search in the entire shelf. Rag and drop the stylization filter on top of this. And I think instantly it will make it look a lot more animes. We can select maybe painterly version from over here. Yeah, I think this is pretty good. We can now maybe add another layer. So just add another layer, rename these two edges. And now in the smart mask section. Sorry, in the smart mask. Let's see. Maybe we can once again just use this one edges scratched or edge is strong. Yeah, I think that's pretty good. Now you can just set the color to something dark and then just control the overall opacity of this. We just want it a little bit subtle edge darkening. And I think this looks pretty good. If you want, you can add another layer. This can be like surface dust, and you can drag and drop this dust surface, which will look something like this, once again, just adjust the opacity somewhere in between like this. I'm pretty happy with how the boxes are looking. Another thing you can do is to add a bit more detail. Add one layer on top of this on top of the stylization filter so that it does not get any of the stylization effects. So I will add a layer on top of this like this and rename this to just Alphas. Basically to add some stickers, give it completely dark color, like, completely black. And then we can go over here, I think in the Alpha section. And you will find here a lot of different alphas. You can go into the starter acids. So I only select the ones that are present with substance painter and not any of the ones that I've added like myself. Yeah. And then we can add in a black mask, select your brush from over here. So just select the brush, and then you can select any of the alphas. Let's say we can select something like there are a lot of symbols. Like we can select this recycle recycle symbol. So just double click over here. Old control, use your right click and drag left and right to decrease the size of it and just stamp it over here to give a bit more detail to these cardboard boxes. You can use different type of signs. We have a lot of different ones over here. We can use this as well. I know, maybe something else. Let's just use these random hexagon signs. Yeah, now I will just reduce the opacity a bit or no. Rather than reducing the opacity, I will make the color a bit lighter, not that dark and then reduce the opacity just a tad bit. Yeah, I think this looks pretty good. Then maybe we can use this arrow. Make sure to select the mask first, then double click on this arrow, stamp it over here. Or I will just rotate it like this and now just stamp it on the top. Just set the rotation to 90 degrees perfectly, and then we can place one over here like this. Let's scroll down and maybe we can find something else. We also have these caution signs one. We can use maybe that in the corner over here, set the rotation back to zero. Maybe one other recycle sign. Yeah, I think that's pretty good. It makes them look a lot more like a cardboard box. If you place them under the stylization filter, you will see they will get all scribbled up like this. So just make sure to put them on the top of the stylization layer. With this, our cardboard boxes are looking pretty good. Let's just move ahead with the fan now. Let's select your small assets texture set and open up the reference images and textis folder. We will find this fan image. We can just directly use it as a texture as well. So just drag and drop it over here and make sure to import it as a texture and hit Import. All right. Let's see. I will press F one so that we can also view the UVs at the same time and then create a new folder. Make sure to just put it on the top like this, rename this to paper fan. Now, create a new fill layer and just drag and drop your texture into the base color like this. It will start appearing. Just right click over here, exclude all and just select the fan, top part of the fan, and you can see it is right over here. Select your layer, and then you can move it and place it just about here, whole shift and then scale it down. To place it perfectly with your fan. I think we need to rotate it. So wild holding shift just rotate it like this by 90 degrees. Again scale it down. Yeah, I think that's pretty good. Yeah, that fits pretty well. We can once again use a stylization filter on top of this to maybe make it look a little bit painterly style. Select painterly from over here, or let's try something else. I think the default one was fine, so I will just go with this only, as you can see. Also, I will select the layer. Let's rename this to base and also add in a filter where we can select the HSL perceptive filter to adjust the saturation and stuff like that. I will definitely decrease the saturation a bit. And also decrease the lightness as well to make it look like a tad bit desaturated and match it better with the overall look of the room. Yeah, that's fine, I think. Add another layer and this time, also make sure to add this over here as well. And then we can right click and exclude all and just select this part. Yeah, this way we can create the differentiation and also select the color for the handle. I think something like this is fine. Maybe a bit more orange. Yeah, I think that's fine. We can move ahead. Let's just take sure the utensils and we have the pillow over here as well. You can press F two once again to bring back to your like three D view. We don't really need the UVs anymore. So the pillow as well is in the doors texture set. So let's select the Doors texture set once again. Create a new folder, rename this pillow and add in a fill layer, rename the two base. Let's see. For the color, we can go with something like green but pretty desaturated. Something like that. Yeah, I think that's pretty good. And then we can further add a couple of more layers on top of this to make it look better. So create a new layer, rename this two dust. And also, I will just duplicate this layer twice, so press Control C and Control V once again. Select the bottom one, and you can turn off the top one for now. Let's go into the smart Mass section, and then we can use something like the edges blur and just make sure to make it like dark. Also, right click on the pillow, exclude all on the geometry mask and just select the pillow only. Then we can control the mask editor bit to only add it on the edges like this. Let's set the opacity down to something like 60 maybe to make it look a little bit worn out, and then we can enable the dust layer on top. And for this one, I will just use the dust surface to make it a bit discolored in the center where people would sit around so that it looks something like this. And I think overall this pillow like material looks fine. We can once again just add the stylization filter on top of it to make it look a little bit stylized overall. Just like this. Let's try paintally. I think the earlier default one was fine. So let's just go ahead with this. Make sure to hit save, and let's continue now we can texture all of these utensils, come back to small assets. Let's create a new folder once again, rename these two utensils. We can take the reference of the colors from over here only. We can make them look a little bit similar. And then first, just right and exclude all and select all of the utensils that we have over here. All right. Let's create the first layer. We can rename this two plates. You can bring in your pure Rf image and just select the eyedropper from over here, the dropper tool, sorry, and then select maybe this color or whatever this color is like this. And in here now we can once again use a geometry mask to create the differentiation, exclude all and just select this. I think I will just adjust the color a little bit, move it towards the right side a little bit Yeah, I think overall rest it looks fine. Let's create another layer. This can be last one. And let's once again use the dropper and select this color. Rightly exclude all select this part. I will also enable the roughness channel and set the roughness to 0.1 to make it look a lot more glossy. And also let's change the color as well. I don't want it to look something like that. Maybe something like this. I think this looks a little bit better. I will make it a bit brighter. And yeah, I think that's fine. Let's just duplicate this layer, so press Control C, Control V, exclude all and just select this part now. Once again, we can use the dropper for the initial reference. Let's rather go with a little bit bluish color like this. I think this is fine. Let's create the jug at last, create another layer, and this can be the jug base. Right click, exclude all, select these three. Enable the roughness channel. Again, I will set this to zero point. One for this as well. For the base of it, we can go with, again, a similar color that is present. Just make it a bit desaturated. Like a tat bit greenish. Yeah, I think something like this. And then we can add a different color on top of this to add a bit variation. So now just create another layer, so duplicate it. This time we can just hit include all because we are going to use the black mask instead of using the geometry mask because as you know, we cannot really create the differentiation over here now, we have to use the black mask feature. So first, let's set the color so use the drop a tool and select this color, whatever it is for now. And then you can add in a black mask. And the way we are going to do this is select the polygon fill tool and first select the mesh fill, and we can directly select these two meshes and then select the polygon fill mode where we can select a single phase like this. You can go into the orthographic view and then just drag select it entirely till here and around here at the bottom as well. This way, you can see we have created that color differentiation as well. And now for the color, I will go with something a little bit different. I think something like this, and now for the base, I will just desaturate it a bit more. Yeah, something like that. Let's come back to perspective, press F to focus back on our scene. Let's sit save. And with this, basically, everything is done. Now, the only thing left to texture is these blankets. We won't be texturing this part because this part we can just simply add in a material in blender, that is going to be like emissive material. So we don't really need to texture this. And yeah, for these parts, maybe we can texture these parts. Just create a simple new layer, make it black, exclude all and just select this top part. And for this, I think the white string is fine. I will create a new layer, make it like red. Again, exclude all and just select this part. Yeah, I think this is fine. Select them both and just put them in a single folder. And we can name this just simply light so that we know. And with this, basically everything is done, these blankets are left. So let's select them. I think they were in the doors six set only. So select your doors tiki create a new folder, make sure to put it on top and rename these two blankets. So let's just start by adding in a base layer, you can click on this fill layer I can rename this two base, and let's just right click on the geometry mask, I can exclude all and just select that blanket. For the base, I will keep it white only maybe make it a tad bit brighter. And then we can add in another fill layer, just a simple dust layer. So we are again going to use our dust occlusion mask. So go into the smart mask section and just drag and drop your dust occlusion. Sure to obviously make the color of the dust darker. Then we can select the mask itself, set the gringe amount to zero. We don't really need that and just adjust the dirt level a little bit. Wait for it to save. Yeah, I think this much is fine, and then we can just decrease the overall opacity so that it does not appear like too dirty. Let's go with 50. And this way, the blankets look fine. We can select the base, enable the roughness channel, because obviously, as you can see, it is reflective right now, so increase the roughness because we don't want the blankets to look deflective. Yeah. Now it's pretty good. And to add a bit of color variation, we can maybe add in another layer, make it just some color like blue for now, and just rename this to blue. And then we can add in a black mask. And what I want to do is that I want to let's just disable everything first. Basically create some kind of texture like this. Let's say if I said this to orthographic, and use my brush just to show what I want to do. Like, just color this much part and keep the borders white for my blankets. But it is pretty weird or tough to do it with the brush. So instead, we are going to use some other method. Let's remove the black mask first, so remove mask, select your fill layer, and from the projection, change the UV projection to planar projection. You will see that you will get this box that you can control. But right now it is overall blue everywhere. So set the UV wrap from repeat to none. This way, when you press W E and R, you will get all these gizmos. So you can press R and just scale it down overall like this. Now, you will see that the texture is not really appearing. Everywhere, it is only going to appear wherever you place this box. So this way we can place it very comfortably. Let's set this to orthographic and hold Alton shift to snap the view on the top like this, press R and scale it up this way and place it roughly in the middle. Again, press R and scale it up this way as well. And I think now it looks pretty good. But I don't really like the softened up like edges. So you can decrease the hardness, so increase it and make them completely sharp this way. And now we need to adjust them up a little bit more, suppress R and scale this down. Maybe here would be pretty good. Then on top of this, we can maybe add in a stylization filter just to add some brush strokes to give it that look. Select the filter and set the set the preset to paintly. I think this looks fine. Just decrease the brush strokes a little bit. And then we can select the blue color itself, maybe make it a bit desaturated and a bit darker as well. I will select the layer again. Maybe decrease the hardness a little bit so that it is just a tad bit softer. Not a lot, but I think around here. Press R and maybe scale it up a bit more. And now I think I'm pretty happy with how the blankets are looking. Let's enable everything back on. And with this, I think we have pretty much textured everything. So yeah, this is pretty good for this lecture. We'll finish it up over here. And in the next one, what we are going to do is we are obviously going to export all our textures from substance painter to blender so that we can finally start with the rendering lighting and the final phase of the course. So yeah, thank you guys for watching. I will see you in the next one. 22. Exporting Textures to Blender: Hello, and welcome, guys. So in this lecture, let's export all our textures from substance painter to blender. But before that, I just want to do a quick little addition. If you look over in the reference images folder, you will find this wall texture PNG that I've added. You can just drag and drop this into the shelf, and we are just going to use this quickly. Select as texture and hit Import. If you look over in the reference images as well, you will find it has been added over here on the side of the planks. We can use it over here as well, just to add a bit more detail to our environment. So what we can do is let's go over in the a room texture set. So just select that and we can add in a simple paint layer this time. We don't really need a fill layer, add a paint layer. Let's move it below the dust layer. And now to paint this wall texture, what we are going to do is we are going to use the projection tool. So just select your paint layer and select the projection tool from over here. You will see this white thing pop up and now just drag and drop your wall sticker in here in the base color. This way, you will see it will appear right over here and you can just paint it like this. Just wait for it to load, and you can see you can paint it over your like texture set this way. Now, the way we can control this better is you can press S and use your left click to rotate this and you can use shift to snap, and you can use S and right click to scale it down. So first, we need to obviously scale it down. Then maybe I will place it right over here like this. We can set this to orthographic and just disable everything else except the room. Let's increase the scale of this a little bit, and now we can just easily paint it over here like this. But instead of painting it like this, we can do one other thing, just quickly undo this and instead disable all of the channels now. So just keep the color channel enabled. The great thing about the paint layer is that you can adjust it however you want. So this way you will get a little bit of a different loop. Let's say I enable everything back on just to show you the difference. Because this one has, like, the roughness, metallic, and all those channels, you can see it appears a lot different than the other one that we have, like use only with the color channel. So yeah, just disable all of the channels and just use it with the color channel just to get a little bit better colors because we don't have any of the roughness or the metallicness added onto it. And now, this way, we can just maybe stamp it over here as well, send this to perspective and place it right about here. One other shortcut that you can use is you can press S and use your middle mouse button to move it around like this as well. So along with S, you can use all three of your mouse buttons to move it around. So left click is for rotation, and then the middle mouse button is for moving it around and the right click is for scale. So yeah, it's pretty simple. Let's just place it like this, maybe scale it down a little bit. Again, add this sticker over here as well. And with this, you can see how easy it was to add all of these things. You can enable everything back on. And with this, our texturing is pretty much done. If you want, you can add in maybe like a filter to this. Let's say we can add something like maybe like a wop filter. What this will do is it will make it a little bit woppy like this. You can definitely decrease the intensity. And this will make it a little bit uneven and broken up like this. Maybe we can add this at tad bit, and you can also add in one other filter that is the HSL perceptive filter, which you already know, which is used to change the color on anything if you want to. If you want, you can play around with the hue if you want the color of the texture to be something else or if you want to increase the saturation or the lightness, all those things. But yeah, I think it is fine the way it is right now. So let's just hit Save first and we can also open up our blended file. So open up the blender file from over here only. And then we can come back to our substance painter, and if you press Control Shift and E, which is the shortcut for exporting textures. So there are a lot of different tabs and everything, but you don't have to worry. The only thing we need to change is the settings over here, which is the output directory first, then the template file type and the size. You can choose whichever texture sets you want to export. Like if you want to just export these three or if you want to just export one of them, you can do that. But obviously, we want to export all of them. You can also change the particular settings of every single of the texture set. But we don't want to do that. We want to influence the global settings only, which will affect all of them. So yeah, just stay in the global setting stab and the first, we need to set the output directory. What I will do is I will create a new folder right over here. Maybe in the substance painter files folder, you can create a new folder with the name textures so that everything stays organized, and now you can click on output directory. Go in your the folder wherever you have saved this and just select the textures folder like this. Select folder. The output template is very simple. You already find like a blender principle BSDFOput template. We can directly select it or if you're using something else like let's say nrLEngine, you can select Unreal Engine as well, or if you're using Unity, yeah, those are different all these different programs like for key shot or Lens Studio, anything. But we will be selecting blender. The file type we can go with something like PNG and eight bits is fine. The size we can go with four k for all of them just to get the best quality, but you can work with two k as well. Now just hit Export and wait for the export to finish. As it keeps on going, you will see like all of these textures will start to appear in your textures folder. Yeah, as you can see, the textures are appearing right over here. So now what we need to do is we basically need to use all of these textures and plug them into our materials in blender, which is going to be really easy as well. So while it exports all of them, I will just quickly go over here and edit preferences and tell you guys to enable one of the add ons which we are going to use. So make sure node wrangler addon is enabled over here. So just search it in the add ons or the Get extension section and just make sure to enable node wrangler because we will be using it a lot. Wildlife adding all of these textures. So now the export is done. Let's cancel and check over here. Yeah, all of the textures are added. So come back to blender and we can switch over to the shading tab. And the way we add all of the textures is really, really simple. What you do is let's just say I select this first. So this is like the room texture set. So you can select your principal BSDF and we can easily use a direct shortcut, which is Control Shift and So Control Shift and T will help you to, like, add all of the materials or the textures at once, and you don't have to set them up one by one. Go over here in the folder. And as you know, we are in the room texture set. So make sure to select the room textures only. So just select all of them and hit principal texture setup. And you will see it will give you this very nice setup already done for you and you don't have to set up all of them on your own. You just need to select each and every material one by one and then hit Control Shift ten T while selecting the principal BSDF and this one is the big assets one, so just search for big assets so that you only select these textures only. And then again, hit principal texture setup. And this shortcut only works if you have enabled node wranglar add on, so yeah, make sure to do that. Again, select your principal SDF Control Shift and this time, select the small assets. Again, select it all, hit principal BSDF one by one, all of the textures are appearing. At last, let's select this, again hit Control shift in and this one is the doors one. Select all of them, hit principle texture setup. And yeah, with this, as you can see, all of our textures have been added into our what do we say, the blender file. Let's sit safe first, and we can go overhead in the render properties or in the output properties. I will just enable render region. What this will help us to do is it will only show us what we are going to render and not any of the extra objects or like the extra view that we get. So just enable that. Whenever you press zero to go into your camera view, you will only be shown this part only. Now we are basically done with everything. The only thing is left to do is to add a bit of lighting, do a bit of compositing, obviously, to make it look a lot better because right now it looks really, really flat. It does not look good at all. And then we will add, like, a little bit of small props here and there to add a bit more detail to our scene. Like, we can add, like, a couple of books over here, maybe a small cloth on top of the her like we have in the reference image as well, as you can see, and we can add, like, a couple of books here and there. And with that, we can finish up with the course finally. Let's just save and this much is pretty good for this lecture, and we'll continue from over here in the next one. Thank you guys for watching. 23. Adding Small Props: Hello, and welcome, guys. So in this lecture, let's just quickly add a couple more props to our scene so that we can finally be done with the modeling and the texturing part. And after that, we can just easily focus on lighting, rendering, and composing. So let's just start. As I mentioned earlier, I will be adding a couple books over here just to fill out this empty space, and we can add in like a cloth right over here, as is present in the reference image as well. So yeah, let's start by adding in the books. That's pretty simple. You can just start by pressing seven for the top view, and just press Shift plus A and add in a cube. Let's bring the cube right over here. And you scale it down and scale it up on the y axis like this. Then what we can do is we can just scale it down as well. This way, then press tab, select these three faces, and you can press X and delete the faces. This way we get the cover of the book. And now to make it look a little bit better, press Control A and apply the scale first, press tab, select both of these edges. You can now press Control plus B to bevel them out, just to make them a bit smoother. Again, right click, shade all to smooth this, and then you can just add a solidify modifier. Maybe give it a bit more thickness. I I think that's fine. We can add in a bevel modifier as well and enable harder normals, reduce the bevel amount a bit. And we have pretty much got the book cover. Now press Shift plus cause to select it, press Shift A and add in a cube. You can press tab, select the top and the bottom face, press X, and delete the faces. We don't need them and just scale it down like this. And this can act as the pages for the books. We don't have to model out every single page. We can just create a block like this. This is fine. Let's go into the rendering tab. Maybe give it a tad bit more thickness, so maybe 0.022. And then we can just select the cover part first, add in the material, rename this to book cover. Let's go with some color light. Maybe purple. Let's make it a lot more desaturated and a bit darker as well. Something like that. Yeah, I think this is fine. The roughness can be somewhere around here. For the pages, once again, selected, create a new material and rename this book and pages. Instead of keeping it entirely white, I'll just make it just a little bit yellow like this. Yeah, I think this is pretty good. You can just select these two scale them down. And let's select our cupboard, as well. We don't have to select all of the parts, the top part as well. And then press Slash. Let's come back over here. Select the book, press seven for top view, place it right about here. I think we need to scale it down a lot because it is pretty big compared to our cupboard. I think this much is pretty good. You can select these two press control, and apply the scale. Now we need to adjust the solidify modifier once again, just do that and adjust the bevel modifier as well. Now I think this one is pretty good. Maybe I'll scale them up just a tad bit more. Then we can just rotate them and try placing them around on our cupboard. Press Shift plus D to duplicate press Z to lock on the z axis and rotate it this way. I will also just quickly select these two, and we can just press F three and convert to mesh. And now we can just press Control J. Do the same over here as well. Press F three, convert to mesh, and press Control J so that we can join them together, and also all of the modifiers are applied because we don't need to keep the modifiers intact. Let's rotate this this duplicated right over here, rotate it, maybe add one more book in the stack. Yeah, this feels pretty good to me. Let's look at it in the rendered view. I feels right. Maybe I will make the book pages material a bit more darker. And the book cover as well, just a tad bit more darker. Let's come back. I will select one another book, duplicate it, and let's rotate it this way. We can place it somewhat like this along the wall. I like that as well. I think this fills out the space like this empty space right over here pretty nicely. I'm happy with that. Maybe we can add one more prop. Let's just select our cupboard, press one for the right side view, and we can add some kind of paper rule, like a scroll type of thing. So to create that, we can first select this presifPl curse select it, add in a plane and you scale this plane down. And you can just press tab enable X ray. Select both of the word Cs, press one for Word C. Select mode, select both of them, and just create a scroll like thing. So you can just press E repeatedly and create this kind of scroll like a paper scroll. I think doing it this much is pretty good. Right now, it does not look that great. First, let's shade out of smooth, scale it up this way to make it longer. And then we can let's add in a subdivision surface modifier to make it smooth, and now it looks much better. Let's give it two levels. We can also add in a solidify modifier if you want to to maybe give it a bit more thickness. Press tab press Control R and add one edge loop right in the middle and I'll just scale it down. Is to give it like this sort of shape. You can press S then Shift plus Y, I think, to just scale it on the exit plane and make it a little bit more thinner. And now it feels like a scroll. So let's come back in the rendered view press slash, and let's place it right about here. The material, like the white material is fine for this one. I think it works perfectly. And we can just place it right around here at the back of our books. Maybe we can place one more This one is kind of flying in the air a little bit, but that does not matter because it won't be even visible. Maybe I'll duplicate this one and place it right over here as well. Scale it down on the Y axis. Oh, I think I should just delete this one. It's fine right over here this way. I think it looks pretty good. Now let's add that cloth like thing that I was talking about. So for that, we can use a simple cloth simulation. So let's select our chair, press slash to go into the local mode. Shift plus a cursor to select it to bring the cursor right over here, press Shift A, add in a plane, and let's scale this down. T it up a little bit, move it right over here at the top. Place it just like this. Press, then X one more time. Press S then X, the next one more time to scale it locally this way and maybe scale it just a little bit this way. Like that. Now we can press Control and apply the scale first, press tab. And we need a lot more geometry for the clot simulation to work properly, right click and subdivide it and give it ten cuts like this. Do one more subdivide and give it ten guts. And now we have a lot of geometry to work with. Maybe I'll go with nine guts or eight because it's a bit too much. I think this much is fine. Now press tab, go over here in the physics tab and add in a cloth. Now if you press space, you will see it will fall through. But what we want is we want the clot to wrap around this chair, like the top part of the chair, select the chair now and add in a collision, like the collision property over here in the physics staff. Now when you press space, you will see it will fall off like this. Maybe I'll bring it right over here. Make sure to come back to the zeroth frame. And just move it a little bit back and make it a little bit more longer like this, I think. Apply the scale now press tab, and it will fall off just like this. Press space wherever you like it, just press space. I think I'm happy with this. Press F three and convert to mesh. Now it won't change around when you move the frames. So let's come back over here, right click and shade or to smooth this first. Let's move it down to match it better. And let's see. We can start by adding in a subdivision surface modifier to make it smooth. Let's move this one now and add in a solidify modifier. Give it a little bit thickness to make it look like cloth. And now I will just give it two levels and apply this modifier as well because right now it does not look that much like a cloth. Sure, it is like wrapping around our chair this way, but we want to make it look a little bit more like a cloth. So first, go to object, set origin, origin to geometry, and just scale it down this way. Make sure it does not overlap. And I think this is fine. Now we can move over to the scloting tab. And over here, you can just use, like, a couple of cloth brushes to make it look a little bit better. So over here in the bottom tab, if you scroll around at the last, you will find all of these cloth brushes. And now, first, I will just hold Shift and like move around over my cloth, just to smooth it out like this. Basically, holding shift is the smooth brush, and you can just smoothen everything out quickly. And now you can just select this brush right over here, bend boundary cloth, so you can hover over the boundary over select it and just move it inwards a little bit like this to make it look a little bit more like a cloth. Let's say you can just use any of the brushes like let's say you use this move around a little bit. It will add some wrinkles here and there to your cloth to make it look a little bit more authentic. And then you can hold shift over them just to smoothen them out. And already, I think it looks fine. Maybe we can do a couple more things like this grab cloth to move around some of the areas like this so that we don't get the perfect boundary right over here. If any of the areas, get a bit too weird, you can just hold shift over them and just smoothen them out. I think this way our clothe model looks fine. If we can hold some of the corners and push them down a little bit like this. And yeah, I think this is pretty good. So let's come back to our layout tab, maybe move it a little bit upwards so that we don't see any overlap. And now we can just go to the shading tab to add some materials to it. Now we can just click on New, create a new material. And if you look in the reference image, if you want to create a similar material, we can do so press Shift A and add in a checker texture. You can just plug this into the base color. Select the checker texture and press Control T so that you get this mapping and texture coordinate node. This shortcut would only work if your node wranglar add on is enabled. So make sure you go into edit preferences and just enable node wranglar from over here in the add on section. And then you will just see this, like the shortcuts working. All right. So now you can just change the color to something like red as we see in the reference image as well. Now you can just adjust the scale from over here if you want to add more squares this way. Or if you want to add more like this. So I think this looks fine, but instead other thing that we can do is we can also use something like a brick texture to get a little bit different looks. So add in a brick texture, plug this into the base color. And now we get something like this. Instead, now just select this press Control T. And instead of using generated, use the UIs, then it should work fine. Now what we will do is, first, let's adjust the brick width and the brick height like this. Now we can just decrease the scale. For the color, I will just use my dropper tool and select this one. And over here as well, we can just play around with any of the color we can maybe give it a little bit white orange color, something like this. And now we see this mota size, just decrease this. So mota size is basically this black outline. If you want, you can keep it at a very low number like 0.001. So we just get this small line, but I think it's fine at zero only. And we can create something like this as well. So it's totally up to you what kind of texture you want to go for. Maybe I'll just make it a little bit more white. Create something like this. Make sure to also increase the roughness of this. I think something like this is pretty good. It's totally up to you what kind of texture you want to go for. Either you can use the checker texture or the brick texture. But yeah, with this, we have our clothe material done as well. We can also just select one of the books. Let's select this one pi plus D to duplicate. And let's bring this one out right over here close to chair as well. Maybe rotate it up a little bit to sit well on the curvature of the chair. But yeah, with this, we are done with the texturing of our texturing and modeling as well of our small props, and now our scene is basically done. Let's just sit save, and I think this much is pretty good for this lecture. In the next one, we will finally start to do some lighting and composting to our scene. So thanks for watching. I will see you in the next one. 24. Lighting, Compositing and Adding Outlines: Hello, and welcome, guys. So now in this lecture, let's add some lighting and compositing to our scene. So first, let's move over to the rendered view mode, and if you press zero to view through our camera. I also made a couple of changes to the cloth material. You can just follow them if you want to. I just added a huge saturation node to make it a tad bit darker this way and also make it a little bit desaturated and also adjusted like the brick width and the row height. So if you want to check out that, you can see from over here. All right. So let's continue now. I'll move back to layout. And to start off, the first thing that I'm noticing is that this part over here looks pretty weird because we are not getting the shadow. The room kind of finishes abruptly. So either we can just select this and select this part. Let's enable X ray, press seven for top view. And just select this part right over here. And now we can just extend it up like this till here. And now, if you will look over in the in your rendered view mode, now it looks pretty good. So yeah, this is much much better. But instead, we can do one other thing if you don't want to mess up the geometry of our room. Just press Shift add in a cube and simply we can use this cube as like a shadow caster. Obviously not that big, so just decrease the scale of it and make it over here only around the area that we needed. So over here like this. Perfect. Now we can press zero to just view through our camera once again. Next, what I will do is, if you remember, we had added like area light right over here at the top. You can go here and just enable extras so that you can actually see everything like all of the lights. So we have this area light. If you want, you can just add it once again and just add in the area light. I'll just quickly show you guys how we can do that. If you want, I'll just delete this one. Let's select the room press shift puss c select it so that it is centered. Press shift they add in a area light from over here, move it to the top. Now increase the scale of it to fit the room perfectly, press seven for top view, enable X ray, and just make sure it covers our entire room this way. Now we have the area light working. We definitely want to increase its intensity. So if we come over here in the object data properties, we can increase this to somewhere around 45 yeah, this feels pretty good for the room. One thing that I'm noticing is that the reflections over here around the room look pretty weird. And this is happening because we did not adjust the roughness value back in substance painter. So don't worry. We can just quickly fix it over here as well. So what we want is we want to increase the roughness of the room part. So just select your room, and over here we have the roughness channel. If you disconnect it and you play around with the roughness value, this way you can see you can increase it to one completely. But instead, we can do another thing as well. You can press Shift and search for a mass node. And just plug this math node in between them. So this is like a add math node. So it will add 0.5 roughness to all of them. So this way we can keep the roughness map in play as well and adjust the roughness from over here. As you can see if we go to negative, it becomes reflective. But if we keep it somewhere around 0.5, it will give us nice roughness. You can select the ad node press M to mute it, and you can see the difference it creates right now, the valves look pretty reflective. If I just enable it back on by pressing M. Now they are not reflecting light back anymore. And this is exactly what we want right. Next thing that we want to do is we can go over to render properties. Under the color management section, make sure to change the view transform from AGx to standard because for stylized type of scenes, AGx does not work that good. AGX or even filmic as well, we'll be going with something like standard and set the look to medium high contrast. All right. Next, we can select this part. So obviously we need some type of light right over here. So go into the material section, click on New and you can remove this old small asset, so click on the minus icon like this and then click on New material, rename this to emissive. So this is going to be our emissive material. We can delete the principal SDF instead shift and search for emission and just plug this in right over here. Now we get something like this, just make it like a tad bit yellow. Something like that. And we want to do the same thing over here around the door as well. So select our door pre shift plus because if you select it psite add in a plane, rotate this plane by 90 degrees and bring it in like this. Maybe increase the scale. Also decrease the scale like this. And you are perfect. We can select it once again, give it the same emissive material. But instead, click on this two icon because we want to make it a little bit different. So click on this two, and we're just going to go with completely white color for this. Now we have a little bit of emission over here and over here as well. This will make it seem as if light is passing through from over here. One little problem that we have is that now we don't get any light coming through the window that was coming earlier this way. So just select your like this panel or the plane. Go ahead in the object properties under the visibility section, disable shadow. So if you disable shadow, it won't be casting any shadow anymore and we get the light passing through. Perfect. We can similarly select this door as well, press Shift plus S because it was selected, press Shift A add in another plane, once again, just rotate it like this by 90 degrees. Once again, just adjust the scale of this, fit the door perfectly. For this one, I won't be using the emissive material that we were using earlier because I don't want light to be pouring through like from both the sides of the room. So instead, we can use a glass material overhead. So again, click on new rename this to Glass and remove the principle SDF and instead adding glass SDF. Just plug this in and we get something like this, you can adjust the roughness, maybe increase it a bit set the IOR to 1.33, which is the IOR for glass. And I think this works pretty good. I will also just select my where is it? The sun. And right now, its intensity is like at two. I'll maybe bump it up to five. And you can see instantly we get a lot more light passing through over here, which is the type of contrast we want to create. So yeah, just set this to five so that we get a lot more light. And now our scene is honestly pretty well lit. I think I'm liking it. I will select the books as well, maybe make them a tad maybe just make them a tad bit more darker and maybe the pages as well. I think the scrolls, as well, click on New to give them a new material, make them a little bit darker as well. Now what we can do is we can just press F 12 to give our scene a quick render. And just wait for it to finish. And yeah, already, you can see our scene looks pretty good. I'm really happy with how it is turning out. And with some added like compositing in Blender and in Photoshop, we can take it to the next level as well. So let's do some composting. Our raw ender is pretty much done. We can now move over to the compositing tab and first enable use nodes. You'll get something like this. You can hover over here in the corner and just make this a single window like this. And you can hover over here in the corner and give it like two windows. Change this one to image editor so that we can send this to the viewer node. What this will do is it will help us to see all of the changes that we are making to our nodes right over here in real time. So for example, the one node that we will be using a lot is reshift A and add in a glare node. So glare is basically right away you see the streaks popping up wherever light is shining through. But we don't want to use a streaks mode. In anime, we often get that dreamy soft glow, so we are going to go with fog glow. Now to make it work a lot better, you just need to decrease the threshold. And as you keep on decreasing it, you will see the areas where light is pouring through, those areas start to glow light. And you will notice that as you keep on decreasing this value, like the threshold value, the areas where you get a lot more light from, those areas will start to glow. So we can set this to something like 0.1. And you can select the glare node, press to turn it on and off. And you can already see the type of effect it adds. It already looks very nice. I will increase the glaer size to one only to get a lot more of that glare effect. One other thing that we can do is you can also search for press shifty and search for a lens distortion node. So we don't want to do any of the distortion. We just want to do some dispersion. So dispersion is chromatic aberration, which is added in like animes a lot of the times, but it should not be adding in but we should not add in excess. Let's say if I said this is something like 0.5, you will see we get, like, a lot of chromatic aberration. Even like 0.1 is, I think a lot. So we can go with something like 0.01. That is, I think, pretty low. So maybe let's try 0.02. And I think that's pretty good. It's like, really subtle, but it will, like, you can see around the edges, it will kind of, like, disperse them into different colors, making it give that anime look. So yeah, we definitely want to go for that. Next, also, we can add something like a exposure node to control the overall brightness of the scene. So you can increase it to make it a little bit more bright or just decrease it to make it darker. Let's try setting it at 0.25. Yeah, I think that's fine. You can also press Shift and search for a color balance node and plug it right over here. You can play around with all of the three values that is the lift gamma and the gain. So the lift value is basically for shadows. As you can see, it is correction for shadows. Lift is for midtones and gamma is for highlights. So if you increase or decrease the lift, you will see the shadows will get darker, or if you increase it, they will get brighter. Similarly for gain, you will adjust like the highlights. Highlights are the brightest points of the image. Lift is for the darkest points, and gamma is basically mid tones. So maybe we can set the gain to like 0.9. Because the highlights are getting a little bit too bright, so we can maybe set them to 0.9 just to counter that effect. And you can also play around with the color of them. So let's say, if you want to change the color of the shadows a little bit, you can change the color of the left, let's say, if you want to make them a little bit red tinted or green tinted. But I think we can handle these things a lot better in Photoshop, so I will save them for that part. And now if you select all of your compositing nodes, press to turn them on and off, you can see the difference are certainly subtle, but they do add a lot more of that, like final look to our environment, making it look a little bit more polished. So yeah, definitely, we will be doing a lot more of the compositing. Next, what I will do is, obviously, we need to add, like, a bit of line art as well. As we all know that we do get some outlines in animal type environment, so we'll definitely do that. Let's come back to layout. It save. And now we do run into a little bit of a problem that I will just show you guys, press Shift A, and you can go into grease pencil. And this is one of the easiest ways to add outlines in Blender now. You can select scene line art, and instantly, you will see all of these outlines. Obviously, they look really, really bad right now, so you can just select the Line art object, go into the modifier section and decrease the line thickness to something like five or maybe even less something like three. And now we get a little bit better outlines. We can even decrease the opacity 0.65. To get something like this. You can also play around with the edge types. I always disable this crease threshold. It basically gives me a lot more cleaner outlines because right now, if I enable it back on, you will see that we get outlines basically everywhere. We don't want that. We don't want it on most of the areas. So if we disable it, we only get outlines in some of the important areas, which makes it look a lot better. So I definitely disable that. But one issue that I was talking about, we are going to run into is that I do not want outlines to appear on some of the areas, like I do not want outlines to appear on this particular part of the fan. So how we can do that or how we can tackle this issue it is pretty simple, but we do have to change a little bit of the things in our scene. So if I just delete this line art object right now, press Shifty, once again, you can see, we have three different lin arts scene line art collection line art, and object lin art. So we can either just add the linear to all of the objects in our scene or we can add them to a certain collection or to a certain object. The best way to control them is to use, like a collection linear. Basically what we can do is we can put all of the objects that we want the line art to affect in the collection. In one of the collections. And in the other collection, we can move all of the objects where we don't want the line art to appear. But for that, we have to change delete all the earlier collections. So yeah, instead, just quickly select the collection, delete them, delete them, delete them, delete them, delete them, delete them one by one. This won't affect your objects. This won't delete the objects, but instead it will just delete the collection itself and delete this one as well. Now just select all of the objects. You can just select all of them in the outliner like this. Press and move this to a new collection and rename this two Line art. Close this, once again, just select all of these objects, press M and move them to the Line art collection. Now you can press M once again and create a new collection and rename this two, no Line art. Sorry, I like by mistake, selected them. So don't select them, press right click and create a new collection, rename this two, no Lin art so that it stays empty. Now press Shifty, add in agrees pencil and select the collection in art this time. Instead of selecting the in art collection, select the Line art collection. And now you will see the difference, set the line thickness to five first or three, sorry, and decrease the opacity to 0.65. Now I can just safely select this object. Sorry, not this, but instead this thing. And just press and move this to no inart. Now instantly, if you select your Lin art object, just turn it on and off once, you will see that we don't get any of the line art now appearing over here. You can open up the edge types, disable crease threshold, and intersection as well, because you will see it will appear on some of the intersection areas, so just disable that as well. And now we get a lot more cleaner outlines. So press F 11. This was our old render, press J to switch slots, basically, you can switch between two different slots so that you can compare renders. So now in the empty slot, press F 12. This way, you can just compare between the renders, it's really helpful. And yeah, now the rendering is done, you can just press J and compare between the two. Basically, this was the old render, and this is with all the compositing and even the added line art that you can see around the edges. Obviously it is totally up to your preference if you want to increase the line thickness to maybe four or five if you feel like it is a bit too thin. We can definitely do that. A all of the areas where you don't want the line art to appear. Like, let's say around this calendar part, I just want the line art to appear on the front part and not on the behind on all of these pages. So I will just select this front page, press L and select it press P and separate the selection. Select the top part as well. Again, press L and press B and separate the selection. Now we can just select this behind part, press M and move this to the no lin art collection. This way we won't get any lin art over there because it was getting pretty dark and smudgy over that area. So that's why I removed it from over there. Also, if you select the inart modifier, it can make your blender a lot sluggish and slower. So just make sure to disable it from over here in real time. So that we only see it in our renders and we don't see it in our viewpot because it can make our blender very slow. Let's just save. And with that, we have done a lot of things. We have added some lights to our scene. We have also added a lot of compositing. The scene looks pretty good now, but we are going to also create some variations of the scene like different times of the day. And also, we are going to do a lot more compositing in Photoshop, as well to take it to another level. So I think this much is pretty good for this video, we'll continue from over here in the next lecture, where first we'll do like a bit of composting in Photoshop, and then we'll create another variations of the scene. So thank you for watching. I will see you in the next one. 25. Compositing in Photoshop: Hello, and welcome, guys. So in this lecture, let's do a bit more compositing in Photoshop to give our environment that final polish. And we'll also be working on a couple more variations like evening and a nighttime variation for an environment. So first, let's just go ahead and you can also just change the resolution of your renders. So right now it is set to 1920 by 1080, which is basically HD resolution, but you can also increase it to, let's say, 25, 60 by 14, 40. Or even four K resolution, whatever you want to. And from over here, you can control the Max samples. So the more samples you have, the more quality you will get within your renders and also just make sure to enable denoise from over here. I did not mention this in the last lecture. But yeah, just enable this, and maybe we can increase the number of samples to something like 500 because we are taking a final render to take back into Photoshop. And if you want, you can increase the resolution from over here, but I will just keep it at this only. HD is fine. So let's just press F 12 and wait for the render to finish. Let's see how it looks and we might change a couple of things. Alright, guys. So the render is done now, and there are a couple of things that I want to change. I just don't want the shadows to appear right over here on the fan. This is like, totally up to your personal preference, but I just want to make them completely clean. And also, I will just increase the brightness of the light a little bit, like the sunlight. So click on here on your light icon select the sun and I'll just increase this to six. And also, as I said, I don't want the shadows to appear over this, select this part and you can come over here in the object data properties and open up this visibility section and just disable shadow. With this, we'll get this clean look, which I like a little bit more. Press F 11, to view the old render, you can press J now to switch the slots and press F 12 once again and just wait for the render to finish. All right, guys. So once again, the render is done. You can just press J to now compare between the two, and we can just clearly see the difference. It's very subtle, but yeah, I just want to keep it entirely clean like this. And now you can go over here into image, save. And I'll just create a new folder right over here in the blender files and rename it to renders and just save this file as one. Make sure to set it to JPG and increase the quality 200. Save as image, and I will now just open a photoshop and drag and drop my image that I just like save over here. All right. So now we are obviously going to do some things to make the image look better. If you know a little bit about Photoshop, you can obviously do those things on your own, as well. Like we have all these different adjustments that we can do, changing the brightness, contrast, colors, everything. So yeah, let's just go over the things that I want to change one by one. First, I will just disable this log icon, right click and click Convert to Smart Object. Basically, what this will do is it will save all of the changes or any of the adjustments that I'm doing over here, which helps us a lot. So first go to filter, sharpen and set this sharpen more. As you can see, instantly, it will give environment a lot more detail as the edges are a lot more sharp now. You can just enable and disable them from over here and see the difference. Next, what I will do is I will go to image adjustments and select levels, and the levels will basically help us to, like, control the look of the image this way. So I'll just push it in a little bit from over here and a little bit from over here as well. You can enable or disable the preview and see the difference. So it makes everything look a little bit more contrasty. And yeah, I think I'm happy with the look. We have over here. Hit Okay, and next, you can go to image and once again, just select this one, Photoflter. So photo filters are like different filters, as you can see, warming filter, which will add a yellowish tone on top of this, but I don't want that. I instead want a cooling filter. So let's select this one and set this is something like 15. So you can see it will kind of neutralize all of the yellowness in our environment because right now it looks a little bit too yellow. So that's why I added, this cooling filter on top of this to kind of adjust that thing. And now our render, I think, already by adding a couple of these adjustments looks a lot better. All right. Next, you can go into your over here in the reference images and textures. I have added all of these different overlay files, which we are going to use in Photoshop, so they are going to help us a lot. First, I will use these bars, so just dragon drop these bars over here. And this will help us to, like, create a bit more cinematic shot for our render. So select the layer, select the bottom layer, the image, and you can use your arrow keys to move it upwards like this to place it perfectly. And you can see these black bars help us to give that cinematic look to our scene. So yeah, I think that looks pretty good. Next, we can drag and drop this one. So this one is also pretty nice. You can just scale it up like this. And now you can change the blending mode to something like screen. And you will see it will add this kind of overlay on top of your render. Obviously, this is a bit too much. So we'll decrease the number to something like 20. We want to keep it, really, really subtle, but we do want to add, little bit of imperfections and things like that to sell the authenticity of our frame. Now select these two and just create a new group so that we can place them all in a single group only. I'll add another photo filter and just go over here to image adjustments and add color balance. So with this, you can again, change the shadows, midtones and highlights like we had in blender as well, that color balance node, where we had lift gama and gain. So it is pretty similar to that. So I'll change the mid tones a little bit, maybe making them a tad bit more bluish. Let's set this to something like 15 or maybe like 12. Then go into shadows and maybe I'll make them a little bit red, not this much somewhere around six or seven, I think. And you can just enable and disable this. And obviously, it is totally up to your preference. If you want to go for this kind of look, that's fine. But yeah, I do want to add a little bit of red and blue like this. And yeah, I do think it looks a little bit better than earlier. You can also change the highlights as well. Highlights is basically the most bright points of your scene, and shadows are shadows and midtones are whatever falls in between them. But I think this is pretty good. You can add, whatever variation of color you want to go for, but I'll do this only hit Okay. And these are some of the very small changes, but definitely, they do add up and make our environment or the render look a lot better. Alright. So yeah, let's keep on moving ahead. Next, I will add this Godrey type of like overlay on top of this, just increase the scale of it like this, maybe move it down this way so that we can see the light coming through. And now you can set the blending mode again screen. And it looks pretty weird, but don't worry, we'll make it work. Make sure to put this in the group. Go over here and go into adjustments and set the UN saturation, I think, yeah. And now you can just set the saturation completely to zero so that it will turn white because obviously having that yellow color looks pretty weird. So we'll make it completely white. And right now it is a little bit too much in our faces. It takes away from our environment or the ndom. So again, I will go over here, select levels and try to, like, crush these values a little bit. So moving this point will make it a little bit brighter and moving this point, we'll just keep all of the brightest spots only and not everything. So maybe I'll move it till here, increase the brightness a little bit. And now already it looks much, much better. Just decrease the opacity to something like 75 because we don't want it to be too much in our faces. And you can already see even these two overlays add a lot more effect into our render. A couple more of them, we can add like this thing as well. So again, these have to be really, really subtle. Just move them below over here, set the blending mode, anything to light and screen whatever you want. All of these would work. I'll set this screen, and again, set the opacity to something like 20. Select it once again, press Control T. Let's move it down a little bit. And, again, it's really, really subtle, but we do want some of these imperfectness to show through. You can also select your main image and go over here to filter noise and add noise. Again, it will be like, really, really subtle. You can see it will add this type of noise. You can set it to something like five. I think even five is a little bit too much, maybe something like three. And it's not going to be super apparent, but it does add a lot of noise in our scene, which makes it a bit more authentic, I would say. So you can definitely add that if you want to. One last thing I will add these Not these ones. I think I will instead use something like this. So first, I'll remove them. These are a bit too sparkly. If you want to go for them, you can use them, but I'll be using something like this. Let's increase the scale of it. And once again, set this to screen. Let's select the levels and move this over here. Is somewhere in the middle so that we only get the brightest points. Yeah, and now just set the opacity to something like 25 to make them like, really, really faint. And you can see we get, like, these nice sparkles. What we can do is we can select this press control T and just keep these sparkles around the area where we have, like all of these, like lights. Yeah, we will just add it over here on the left side of the room where we have all of this light pouring through, and on the right side of the room, we won't add it at all. And yeah, now I think with all of these, added effects are like render looks a lot lot better than before. You can just disable all of the smart filters and disable all of these things as well. And you can clearly see the type of, like, Things compositing can do. It can make your render look from, like, somewhat good to, like, really, really polished and final. And I'm really happy with how this is looking. If you want, I can also add this Photoshop file into over here only in the render, so I'll just save it as daytime. Save. Okay. Let's come back to our blender. And with this, we have basically finalized our first, variation or the main environment. So let's just save this file. So this will be our main setting, hit Control Shift ens to basically create a duplicate of this file, and we can just rename this to anime Room. Underscore variation one. And this one is going to be like some type of evening scene, and then we can create one another one where we will create a nighttime variation. So yeah, I think this is pretty good for this lecture. I'll wrap it up over here. In the next video, it's going to be the final course for this lecture, where, as I mentioned, we will be creating two of the variations, the evening and the nighttime one. So thank you guys for watching. I will see you in the next one. 26. Creating Evening and Night Variations: Hello, and welcome guys to the last lecture of this course, where we are going to create two more variations for our environment. And now it's going to be like really simple and straightforward. I could have done the changes over there in the earlier file as well, but I created like a separate file for this like this anime room variation one because I want to keep the settings intact, so that one is going to be the daytime one and this one is going to be the evening variation. Although there won't be much changes in blender itself, we will be doing most of the editing in compositing itself. Like we'll change the look of the environment completely just through a bit of settings change. But over here in blender, just to make some changes, select your area light, which is like the light inside the room, and we'll just decrease it overall to something like 35. Just to make it like a tad bit lighter or like a darker. Next I'll select this emission panel, and I will increase the emission of this because I do want a little bit more light shining through as it is the evening time. So we'll get a little bit more glow over here. And the next thing that I will do is I will just select the sunlight. And if you see this angle property, this basically controls how sharp your shadows are going to be. And over here you will see this angle property, which basically controls how sharp your shadows are going to be. So earlier it was set to select something like 2.7 at zero it's at zero, it will be completely sharp like this, so we can set this to something like ten so that the shadows are a bit more faded out. And now you can just press F 12 and give it a quick little render, and we'll just save it then and bring it back to Photoshop. Alright, guys. So the render is done now, and although it is fundamentally not that different from our earlier render, we did make some changes, but most of the changes would be done through compositing in Photoshop itself. So yeah, let's just go to Image, save and in the renders folder, save it as two, set this to JPG and set the quality to 100. Although we can make these composting changes in Blender itself, like we have all of the nodes over here as well to do all of the composting stuff that I did in Photoshop. But Photoshop is a little bit easier and straightforward as it is a photo editing program only. In blender, it would be a little bit more tough to do all of the composting with nodes. So that's why I kept it fairly simple over here, and most of the, a little bit more advanced stuff we'll be doing over here in Photoshop. Alright, it's good to file open. Or instead, what we can do is just select your daytime scene only, which we created in the last lecture, hit Control Shift in S, and basically just rename it to Evening. And now we can just collapse this one, this two. And now just dragonrob the render, you just export it from blender over here. So select the second file and drop it over here like this. Bring it below this group, and just use your arwkes to move it upwards like this. Just Make sure both of them are exactly in the correct place. Yeah. Now we can already see they are a lot more different because we don't have the added effects over here in the second one. So now just select the second layer. I will turn off the group one for now and select it first so to filter sharpen and select sharpen more. I will also just quickly enable the group one and just keep this black bars enabled and just disable everything else. Yeah, that we looks much better. Select your image once again, go to image adjustments and this time, select levels. And let's just move this one a little bit over here to make it a tad bit darker. So moving this one towards the left will make the bright spots more brighter. So we can definitely just move it a little bit over here like this and just move the middle part towards the right to make the overall seem a bit more darker. Because as I said, this is going to be a lot more of evening type of vibe. So we definitely do not want that, like a bright look. So yeah, I think something like this looks pretty good. It okay. And next we can maybe add in a photo filter. So earlier, if you remember, we added the cooling filter, but this time we are going to be adding a warming filter. Again, okay. Let's see. Next, we can add a bit more of color balance. So I will be adding a bit of red to all three of the values, the shadows, highlights, and the mid tones as well. So I think something like this. Again, hit Okay. And you can already see we have made a lot more difference in our image. Finally, just add in like a brightness contrast, decrease the brightness by 15, and also decrease the contrast a little bit because right now it is a little bit too contrasty, so maybe set it to something like this. You can enable a disabled preview to see the effect that particular node adds. All right. So now let's open up the group once again. We can enable this. This as well, and this will be the light passing through. But just having this white light feels a little bit weird. So instead what we can do is just come back to your reference images and textures. Again, drag and drop this once again and just delete the older one. And the reason I'm doing that is because we get the colors for this one, so just increase the size of this and bring it down like this. Now, once again, go to Lighten. So once again, just set the blending mode to screen. And now what I'm going to do is just go over to image and select Autotone. This will give us a lot better look than earlier because earlier we were having completely white light, but now we get, like, a mixture of white and a little bit of yellow and orange in there as well, signifying that kind of evening time a lot better. So yeah, we are basically done with this. We can set the opacity to something like 80. And for these as well, I think I will just push it back to 20 because I don't want them a little bit too visible. You can also add the noise over here as well. So go to filter noise and just add noise. And three is fine, my opinion. And yeah, now we are basically done with the evening variation as well. You can go to File Open and open this daytime one, and we can basically compare the two. You can hold Control and tab. And this way you can switch between the two photoshop tabs. And you will see just by doing a little bit of different way of composting, we have created a completely different look for both our scenes. So this is going to be the daytime one, and this is going to be the evening one. I'm pretty happy with how both of them have turned out. So let's just hit saved and this is going to be, as I said, our second variation. Let's come back over here in blender. And hit save over this, and again, hit Control Shift ten S, and you can create a variation to. So yeah, set this to variation two, and this will be basically our nighttime scene. So yeah, let's do this one now. So first, we can just start by selecting our Aerial, and I will decrease the intensity for it a lot. So something like maybe ten, just to make the scene a lot more darker to give that nighttime vibe. I will also select the color, and we can just increase the hue and the saturation to something like this type of blue color. To give it that little bit of nighttime. You can also select the sunlight as well and just change the color for it as well to somewhat of the similar values you set over there. Again, something like that. You can also enable the temperature option from over here. So temperature is basically if you decrease it, it will be more yellowish, as you can see over here and you can increase it to something like a larger number, and it will turn like Bluish. So you can maybe set this to something like 14,000 and yeah, it's fairly blue. You can select the door as well. Sorry, the emission like panel that we have added and make the color over here as well, something similar. So like 0.6 on the hue and 0.5 on the saturation. For the stoplight, what I will do is I will just take away the overall saturation, making it like a little bit white, and then just make it like a tad bit bluish. Yeah, I think something like that is pretty good. With that, we will be pretty happy with how it is looking, and then we can just do more stuff while we are compositing in Photoshop. So let's just press F 12 and wait for the render to finish. All right, guys, with that, our render is done now. So now I do want to make some more changes in blenders compositing, as well. So let's go over to the compositing tab. And over here, you can just select your color balance node and make the lift gama and gain values a little bit more. Like with a bluish tint, and that will give it a little bit more of that nighttime feel. So first, let's just You can also just select your color balance node and press M to enable and disable it and see the type of effect it adds for the lift as well. I'll just make it a little bit bluish. Decrease the saturation for the gamma as well. Yeah, I think something like this looks pretty good. As you can see, earlier it was looking like daytime only, but now it looks pretty much like nighttime and we can do, a little bit more compositing in Photoshop as well. And one other thing that I want to do is that right now we don't get that nice glow from our glare node. We do get, a little bit of it, but I want to get more glow and bloom for our lights over here. So what you can do is you can just press Shift and add another glare node, and this time just set it to bloom. Maybe we can decrease the threshold a little bit to something like 0.85 and now increase the strength to somewhere around two. From over here as well, let's increase the size to one. Now if you press M to enable or disable this node, you can see, we do have added a lot more of that globe. If you want, you can make this change in the other versions as well. But I'll just keep it over here. Also set the dispersion to 0.025, just a tad bit more. And yeah, with that, I'm pretty happy with how everything is looking. One more change that I want to do is I noticed over here in the evening time scene as well that this boombox overhea is looking like, really, really dark. So I'm not quite liking how this is looking. So to fix this, we can quickly just make the changes to the textures as well and we can come back to our Blinder file. And see overhead it looks pretty dark. We can quickly open up substance painter and just make a few changes, and then we can just update them in the other variations as well. It won't take long. Let's just sit save and first open up substance painter and open up your anime room substance painter file. Just select the boombox texture set, which is the small acids one. You can disable everything else. And I think what we need to do is if we notice we have like two of these edges parts. Let's wait for it to load. Yeah, over here. I think what we need to do is just make them have a lot more of that opacity. So we can set this to something like 50. Earlier, it was set to 25, and I will also just disable this one. You can see we made this one look a little bit different. I think I'll just disable it and keep them all entirely the same this way. Now let's just hit Control Shift and E to export it once again. You can disable everything else and just keep the small assets enabled and hit Export. Now if we come back to blender, come back to layout, press F 11, press J to switch the lot and press F 12 to give it a quick render. And we can just quickly export this one. You can already see it's a lot more different and a little bit brighter than earlier. So now, I think it would work a lot more better. Yeah. So this is like our final version with all of the added composting. Go to Image, save and in the renders folder, just save it as three. Set it to JPG, increase the quality, hit Save As. I will close substance Painter, as well, and hit safe. Back in Photoshop, you can again hit Control Shift in S because this is the evening time scene, so we need to make a nighttime variation, so just set it to night and hit safe. Open up the renders folder and you can just drag and drop this JPG over here, bring it down. And first, I will just move it up to match with the correct alignment over here. Yeah, that's pretty good. Also, I will disable all of these things. Just keep bars enabled, and you can just disable all of these things. All right. Now, let's see what filters do we need to add to make it look better. First, obviously, go to filter Sharpen and select sharpen more to make the details a lot more sharper. I will also just enable all of these effects. We can enable the overlay. What I will be doing is I will not be using this one. I think for the nighttime variation, we can just keep this one out. We can work with only these three. So yeah, just keep that disabled. So now I think the overall image looks a bit flat, so we can select our image and add in a levels adjustment. Then just move it over here like this. But just this value as well. And you can just constantly enable or disable preview, and you can already see earlier it was pretty flat and less contrasty. Now it's much better. Move this slider over here to make it a tad bit brighter as well. And overall, I think this now looks a lot better. Yeah, you can see the effects added as well, work very nicely. Enable all of them. And yeah, we do get a nighttime variation as well. You can select your render and maybe add in a color balance as well. I don't think we need to do too much over here because we have already added a lot of, like, bluish tones already in blender only. If you want you can play around with them just a little bit, or maybe add some other colors as well and see how they react. But yeah, in my opinion, I think I'm happy with how our render is looking. You can maybe add in a noise filter on top of this, just three amount is fine, and it okay. And with this, we have created three different variations, the nighttime, evening, and the daytime as well. I don't think we need to keep these two overhe so just delete them from over here. Hit save, and let's quickly open up all three of our files. So the daytime, evening, and the night one so that we can quickly see how they all look. I will also delete this layer from over here. This is basically the daytime one. In the evening file, so I just keep them all clean. Only one image over here, one over here, and one over here. All right, now we can just easily compare between all three of them. You can hold Control and tab and just switch between the three. And we have totally different looking variations between our environment. One little small change that we need to do update in our daytime and the evening versions is that we haven't got the render with the textures updated over here on the boom box in the daytime and the evening versions as well. So I'll just quickly show you how we can do that. In the nighttime one, we have already done that. So let's just hit save over here, and we can open up our file. Let's hit Save and we can just close this one. Open up the blender files over here and you can open up the daytime version. First and quickly just hit F 12. Now you can see the textures are updated over here as well. So yeah, that works for us. Let's just go to Image save I will save it as daytime underscore raw. So this is our raw ender so that we know select JPG, set the quality 200, and now just drag and drop this raw file over here in the Photoshop. Move it down, and what we need to do is we don't need to make all of those changes or add all of those filters again. What we can do is we can just drag and drop them very easily. If this is not a smart object, right click and convert to Smart Object, and then just hold Alt and you can hover over here, just click like this and dragon drop the smart filters at once. And you can see we have made the changes to our boombox over here. And personally, I think from this black look, a little bit of this silver look looks much, much better, and I think it works perfectly. I delete this older file and hit save, and these two of them are done, let's open up the evening version as well. The variation one. And again, just quickly hit F 12. All right, guys. So the render is done now go to image, save, and this can be a evening underscore raw. Save the image, again, come back to Photoshop and just drag and drop this one as well, like this. Just quickly adjust its position. Perfect. Now drag and drop all of the filters while holding Alt like this. And yeah, as you can see, now the boombox actually appears and it is not really dark. So yeah, that works perfectly for us. Let's delete this old file, hit save, and with that, all three of our variations are done, and we are done with our course as well. So I hope you guys enjoyed the course. We ended up creating a beautiful looking environment. And what I will suggest all you guys is to, like, maybe add more props, create more variations of the scene, and you can play around with all of these filters over here as well, like creating different types of composting or even maybe just changing the things over here. You can get, lots of different variations with it. And, yeah, I will suggest you guys to maybe take some different angles of the room. Like, you can add more cameras and take different angles, try different focal lengths from the camera. Yeah, there are, like many different ways to make it unique and make it your own. And yeah, with that, we are basically done. Thank you for watching. I will see you in the next one. 27. More Small Props: Hello, and welcome, guys. So although I know I wrapped up with the course in the last lecture, but I was looking at the renders and I was kind of feeling that this area right over here in the corner feels a little bit too empty. So I'm just making this. You can consider this like a bonus lecture to quickly add some props right over here and to fill this area out. So if you go in the reference images and textures folder, you will find that I have added, like, a couple of new textures like these certificate and scroll textures. So we can just add, like, a couple of frames right over here that are hanging on the wall, which will fill this area out nicely. And we can add like a small little wall texture as well, right over here in the corner. We can do that directly in substance painter only. So first, we just need to model out two small frames. So press Shift and start by adding in a reference image. Let's select this one, place it right over here. Press Shift plus S cur to selected, press Shift and add in a cube. Just scale this cube according to the reference image, obviously, because this is going to be like our frame. Now let's press S then Y and scale it down on the Y axis like this. Press Control A, apply the scale. You can press tab to go into the edit mode, and I will also enable edge length from over here. This just kind of helps me to see all of the lengths of the edges. Now you can press A to inset and just insert this somewhere around here. And now you can press E and extrude it inwards to create a frame like structure. And then, basically, let's just add in a bevel modifier, apply the scale, reduce the bevel amount. Let's go with something like this and enable harden novels. Press one for the front view enable Xray, and let's just increase the scale of it a little bit like this. Yeah, that is perfect. Press Shift A, and let's add in another reference image, and you can use whichever school you want to, I will be going with this one. Let's place this one right over here, press Controller and apply the scale first, press Shift plus D and bring this one right over here. So now there is one little issue if you just select your frame, press tab, go to edit mode, and bring them closer like this to fit it with the reference image. The one issue that we will run into is that the relative size of the frame will change. Like this frame looks really thick while this one looks thin. So instead of changing the size like this, just delete this one. Once again, duplicate this, bring it out right over here. So instead of changing the size of the frame itself, I will select the reference image and increase the size of that to match with the frame. This will keep the relative size of the inner and the outer frame same. And yeah, basically just do that. Make sure to match it with the left and the right side overhead. Then you can press tab and now select this, move it up, and now select this, move this down. Okay Perfect. Now you will see that the relative size of this outer frame remains the same on both sides, and that is exactly what we wanted. I will select both of these reference images and we can just basically delete them. We don't really need them anymore. Press tab on both of them, maybe bring out these faces a little bit. And yeah, basically, that's it. I think I will just quickly take them into substance painter to start with the texturing. It's going to be really easy. Select them both first, press Control, apply the scale, press F three, and convert two, mesh. Now you can go into the material section, create a new material, and rename these two frames. Make sure to select this one as well and give it the same frames material. And with this now, we can just directly bring them into Substance Painter. Okay, first, we need to UV and wrap them as well. Make sure to check their face orientation. Yeah, that's fine. Select them both, go into UV editing, press A to select everything, press U and SMATUVPject, and now just go over here and pack islands. Yeah, pretty good. Make sure to select only these two and not anything else. File export, select FBX, and now in the Exports folder, rename this two frame. Now just enable selected objects and just select mesh. Hit Export, and with that, we can open up Substance Painter now. All right, guys, substance painter has opened up. Let's create a new project. Select and we can select our frame file that we just exported. Hit Okay. And this is going to be really, really easy. Just bake mesh maps and quickly just enable these settings, set this to 16 x, disable ID map, and we can set the output 22k only because this is a relatively very small texture. Hit bake selected textures and just wait for it to finish. Return to painting more or guys. So the first thing that we need is a wood smart material. So what I'm going to do is we already have created like a bunch of wood smart materials in this course. So obviously, I'm not going to create that again. You can first save this, so save it in your substance painter files as frames. And now just open up the old anime room substance painter file that we had created earlier, and we do have a lot of different wood smart materials in here. So what we can do is we can let's say, let's go for this one, the big assets one. So just disable everything, come into the layer stab. Select your smart material, which is yeah, this one. And now you can just hit right click and create smart material from over here. As soon as you do that, you will see it will start appearing over here, wood cupboard material. Now you can come back to your frames file. Let's discard. We don't really need to save anything. And we can just drag and drop this wood covered material over here like this. And yeah, now, as you can see, it starts appearing over our frames. What I will do is, though, I will just first delete this layer and select the base and just make it a tad bit darker. Yeah, like that. And now you can open up your reference images and textures folder and just drag and drop all of these textures, not this one, these three, Dragon drop them. Ma sure to select them all as texture, and now hit Import. So it's pretty easy to place them all around. I think you guys can do that on your own, as well. Add a new filler and dragon drop this first certificate. And add a black mask. Make sure to select this face only because we only need the texture right over here. Press F one, and this UV screen will also pop up side by side with your three D view. And now you can just move it around. So just make sure to place it like this. Let's see. Scale it down, so whole shift to scale it down. What I will do is right now the texture is repeating. So set the UV wrap repeat to. None. Now again scale it down. And I think it is facing upside down, so whole shift and rotate it like this. Now you can just match it with the UV island or the face this way. And yeah, it fits perfectly. Next, what I will do is I will add another filler. Let's rename this one to certificate. And this one can be scroll. Let's drag and drop this scroll to texture. Add a black mask once again and just select this phase. Now you can move it around. Obviously, we need to scale it like this. So just place it along the edges and scale it down accordingly. I think we need to hold shift and rotate it like this. We it up a tight bit from over here. And yeah, with that, basically, both our textures are done. Now you can press Control, Shift and E. And let's select the output directory to textures folder only that's present over here. So select that folder, set the output template to blender. This can be BN G eight bits is fine. And I think two K or even one K would be pretty good for the size of this texture. I'll go with two k and then hit Export. All right, so the export is done. Come back to your blender. And let's start by clicking over here and select the shader editor. Now, as you know, you can just hit Control Shift That is a shortcut to set up the principal texture setup and make sure to enable no wrangular add on for that. So hit Control Shift and T in your textures folder, select all of them and hit principal texture setup. And as you can see, our textures are appearing right over here. What I will do is I'll select this press shift process cursor to select it, press Shift A add in a plane. Rotate this plane like this, scale it up. And scale it up this way as well. And this will be our glass texture. So rename this to glass. You delete this press Shift A and add in A glass BS DF, plug this in, and I will set the IOR to once again, 1.33. And I think the roughness is fine this way only. Now, select this press Shift plus D and duplicate it over here as well. Press then Z, scale this down. Come back over here and just make sure to bring out the glass like plain, a little bit outwards like this. A, I'm pretty happy with how this is looking. Let's just sit safe first, and I'll select them both and press Control J to join them. Select these two as well, press Control J and join them. Now, let's scale them down and bring them into our room, obviously. Press R then Z, type in 90. And the way we are going to place them is we can place one over here and one over here like this. Move them back close to the wall. Let's scale them up a bit. Move them back like this. I will also select them both press R then Y and rotate them up a little bit on the Y axis like this to make it feel as if they are hanging off the wall and not just completely stuck to it. And yeah, I think that looks pretty good. As you can see, already it adds a lot better effect, like filling out the entire wall over here. And if you want, we can try out the different scroll texture as well. Let's just drag and drop it over here in this like this. And now we just need to press F one and just squish it in accordingly. Or also instead of doing this, you can just select this layer press Control C, Control V, and it will duplicate it. And in the duplicated layer, you can place this one. And now you can adjust the scale. This way, we will have both of them in different layers and we can just easily turn them on and off to see which one we like better. What I will do is I will just a second. I will also add a filter to this, maybe the HSL perceptive, and I will also change the color for this one to something like blue itself. Maybe increase the saturation a bit and now increase the hue. Decrease the saturation a bit and also decrease maybe the lightness a little bit. Press control shift and E, hit Export, and we can come back to blender. And if we switch it back and forth, yeah, now we can see our render is updated right over here. Our textures are updated. And in my opinion, I think this one looks a little bit better as this one is filled out a little bit more. Over here, we do get, a lot of empty spaces. But yeah, it's totally up to your preference which one you want to go for. You can also just quickly add in a stylization filter on top of this. Just drag and drop it like this. Press F two now to come back to your normal three D view mode, and maybe I'll set this to painterly. Obviously, I'll, I think, reduce the brush strokes. We don't want them this much over here. And also let's decrease the stylization effect just a tad bit. Mm hm. And yeah, as you can see, you can go for something like this as well. Let's hit Control Shift and E and export once again. And yeah with that, I think I'm happy with how the frames are looking. You can again switch back and forth and it will update the textures. Yeah. Let's press F 12 and give this a quick render. And then we'll also add that wall sticker I was talking about. Yeah, guys, I'm pretty happy with how this is looking. It definitely fills out this area really nicely. So now let's just hit Save and save this file as well. And we can close this one and open up our anime room file. Open up the reference images and textures folder and just drag and drop this wall sticker, which I'm going to use over here, set this as texture and hit Import. Now, come over in the room texture set. Let's just create a new folder only, rename this to Wall sticker. I think we need to add a paint layer for this. And now you can select this tool, once again, the projection tool. Come down right over here and just drag and drop this wall sticker into the pase color. Disable all of the other channels. And now, if you remember, I mentioned all of these controls earlier like pressing S and using the right click to scale this down. Left click to rotate and your middle mouse button to pan it around. Let's place this roughly around here. I think this much of size would be pretty good. Now press S and maybe rotate it up just a tat bit. Now we can just paint it over this way. Perfect. Now we can add a couple more things to it to make it look just a tat bit better. So first, I will add a filter to this, and this time, I will add the Wop filter as I did with the earlier wall texture as well. So add the wb texture, or, sorry, Wop filter and decrease the intensity to a very low number, like something like that. To showcase that the sticker is a little bit damaged from the edges, so not too much, maybe like 0.01. And then we can add in a HL perceptive filter as well, just to control the colors a little bit better. I will just decrease saturation a bit to make it really desaturated. And also, I will decrease the lightness to make it a tad bit darker. An yeah, I think with that, I'm pretty happy with how this is looking. Let's just press Control Shift N E and make sure to only enable the room texture set only because we don't want to export all of the textures again and again. Hit export and wait for it to finish. All right, guys. So the export is done now, let's come back to blender, switch over to our rendered view mode. A ya you can see our like the sticker is appearing right over here, press F 11, once again, press J to switch between the slots and press F 12 to give it a quick render. Now, I do feel like that the warp effect is a little bit too much, so we'll definitely decrease that because it is looking a bit distorted. So let's decrease that first and wait for it to finish so that we can actually compare. Yeah. The sticker fills out really nicely. I think it looks pretty good, but we do need to decrease this warp effect. So let's just go with something like 0.008. Press control shift NE, and export once again. All right, guys. So the export is done, come back to blender. And let's give it one quick render once again. Press F 12. All right, guys. So the render is done now, and I think I'm pretty happy with how this is looking overall. And as I said, it has filled out like this space nicely. Maybe let's just select this frame, and I will increase the scale of this just a little bit and move it down. Perfect. Now what I will do is I will move the render to Photoshop to actually update it over here as well. So let's give it one final render, and then we will copy all of the frames to the other versions as well. Copy them to the other variants, and then we can take final renders for our environment and be actually done with the course. All right, guys, let's go to Image save in renders folder. I have already created two different versions like a raw version and a final version. So I'll just replace it over the raw version only. So just select it, select it as JPG, set the quality 200, and it will automatically replace it. Hit Save as Image. Come over here and now just drag and drop our new render, which is this one. And we will clearly see the difference, as well. I'm just trying to match it perfectly. Yeah, now just hold Alt and dragon drop all of the smart filters like this. And now you can clearly see that we have very nicely filled out this empty space that was kind of looking pretty boring and dead, and now it looks I think very filled out and interesting. So yeah, I think this bonus lecture was a success. So first, let's save. And what I will do now is select both of these frames, press Control C, and copy objects. If you don't see this copy attributes menu popping up, you can go to edit preferences and search for the copy attributes add on, and just enable that. Now you can select them both press Control C, copy objects. Come over here and open up the variation one. Paste it, do nothing just paste it. Check once if the texture and everything is appearing here, it's appearing fine. Now presFtel, wait for the render to finish. While this is rendering, I'll open up the variation two as well. And once again, press Control V to paste it over here as well. Let's quickly just take everything is fine. Yeah, computer is a little bit slow because we are rendering at two different locations now. Alright, so let's wait for this render to finish. It's done now. Okay, so the render is done, go to image, save. And once again, I will just save it over the evening underscore raw, save it as JPG, and set the quality 200, hit save. And now I will just close all of the other files to make it a little bit less messy. So close this one, the variation one, and we can also close this one as well. Let's take the final render over here for the nighttime variation, so press F 12 and wait for the render to finish. All right, guys. So the render is done, hit save and save it over this file, night underscore raw. And I'll just close blender together. Come over here in Photoshop, and we just need to basically drag and drop our new blenders. So first, drag and drop this one. Bring it down, move it up using your rokeys Perfect. Hold art and drag and drop the smart filters like this. And yeah, perfect. As you can see, the textures are appearing now over here as well. I delete the older file, like the older image so that we just get this one only. And over here as well, I will delete this older file. It save. Open up the night version, and now just drag and drop this one. Okay, just quickly move it up. Hold Alt and just drag and drop your smart filters. Let's delete the older file hit save. And with this are like, versions are now fully complete. As you can see, we have filled out this empty space right over here as well, and I think now the environment looks even better and more interesting to look at. I will also just quickly show you how you can export your final renders from Photoshop into JPGs. So just hit Control Shift Alt plus W. And then you will see this dialogue box pop up. You can control all the settings like the image size or the format of the file, and then just hit Export. And now you can just save it wherever you want. I will replace it over the older file only hit save and hit, yes. And yeah, basically, we have exported our render from Photoshop into this JPG. So yeah, with that, we are done with this bonus lecture as well, and the course. I hope you guys enjoyed it. Thank you guys for watching. I will see you in the next one.