Beginner's Guide to Bag Design in Blender and substance painter : Easy Techniques

1. Intro1: Hey, everyone. Welcome back to the course. Today, we're diving to a full through the workflow from start to finish as we model texture and render this simple stylish bag. So in this course, we work through every step process. Whether you're beginner or just looking to sharpen your skills. This project cover the essential technique you can use in all kinds of design. Here is what we cover. Chapter one, modeling. We broke out the shape and refine it into a clean low Cory mesh. Chapter two UV and wrap, you learn how to prepare your model for textuing with an efficient UV layout. Chapter three lighting setup, we create a simple studio light ring in Brander for final render. Chapter four Smart material in softens painter, I shall show you how to bring it back to life with realistic textures and smart material. So Chapter five is going to be finally rendering. Let's do we render out our ba with a green lighting and post processing setting. So let's jump in and let's get started. 2. First chapter modelling: Hi, everyone. Welcome to the first chapter of the course where I'm going to teach you how you're going to be able to create this type of bad that you see here, and you're going to be doing this all in blender. So before we get started, there's something that I have gave you in the class description that you're going to be able to use and follow along while leading the Do. So I gave you a PDF in the description that is going to help you to actually know all the shortcut keys of blender that you'll be going to be knitting. A lot of time when you're going to be modeling, rendering, all of the things that you going to be ting in blender. So you have to go first of all, in the class description and then pick up the PDF and after taking the PDF, take it and use it for seeing all the shortcut keys that you're going to be using. So now let's get started. So I have shown you the bag, and now what you are going to do is go and create the first SM and it's going to be here on you, and then it's going to be here on general, right? So now, once you go to a new SM in nda they're going to give you three objects. Before diving into these three objects, the first thing that I have to show you are the panels that you're going to be using, right? So there are these tools that you see here on sidebar that is going to help you to model anything. And with the PDF that I gave you the description of that document, with all of those shortcut keys, they're going to help you for creating any shape you want in blender. So let me explain to you the tools that we're going to be using in this first chapter. So the first two is going to be this one, which is called Select, which helps you to select any object. So for example, if I can select on this object, you can see it is selected, right? There is this second chapter, which is, I mean, this second tool, which is called the cursor that helps you once you want to once you want to bring any mesh, where the cursor will be. That's where the object is going to be. And this can help you also like for moving your object for example, if I select this and put if I select this and select the cars and put it here and press Shift S and cursor to selection to Csa, you go to see that script to follow the Csa, right? So this is like the guidance for where your object should be. And then let me press Control Z. And another thing that you have to understand is that you have to ways you have to go to front field first and make sure that this cursor is actually at the wood origin in the center of the X axis, Z axis, and also the Y axis, right? And there is also this move too, right? So this one helps you to move like an object on the Zaxs on the. There's this Z axis cross to the top. There is this Y axis on the back, and there is the Z axis on the side. And also it can even go down on the front and also on the other side, and the link can also bring it down, right? So let me press Control Z. So with that PDF on the side is going to help you, it's going to help you for all the shortcut keys, right? So once I have press Control, Zs going to come back, Yeah, and it is put my object to selection to carsfs in the word origin. It's going to be in between, right? So now we have a object here. So let me tell you about also this object that you see in the seam. So, this one is a cube, right? So the cube is the one which we are going to be using for creating any object. So this cube is called the Da foot cube, which always come every time you open blender at your first time. Every time you open a new ceiling blinder, you're going to be seeing this cube, right? And there is also this camera that you see here. So this is like a real camera in the real world, the one which is used to take all the shot that you see in the scene. For example, you have created your bag and you have to render it. You're going to be using the camera. So this is going to be the camera. For example, if I press Z, let me just first of all, go to to camera view. By the way, going to camera view is zero. So once you prey zero, and let me show you something a simple trick and go to camera to camera, you put this break, and I'm going to come and you can see that now it is taking the shot. So this is what Brander is going to render, right? So now you have understood that, right? So there is also this lamp. So this lamp is the one for reflections. So, you know, in the real world, every oblet has to have reflection, right? Maybe have added a material to a metallic material to your object and you want it to shine. So if you wanted to shine, you have to use this light. So this is going to be used when you're starting to light your object in lighting it be. There is another there is a scene that I mean, there's a chapter that I'm going to be telling you on the light, right? So there are four lights blind. So there is this point light, the sun, the spot, and an a light, right? So we're going to be using this to this point light and a light once we go to the lighting section. So for now, we're going to be sticking on modeling. So let me go in front and press A and press X, and then the lead, and I'm going to press shift A and grant A. A cube again. So wondering why I have lifted that and brought back the cube, right? So this is essential for aligning. You can see that the X and Y and Z are 00. With this cursor in the word origin, it's going to be started in the word origin. It's going to be easy for me to get started, right? I have pressed this one in the center. Now, I'm going to start. But before I get started, there is something that I want to show you also. So we're going to go to the modifiers. Let me express to you the modifiers that you're going to be using in this first chapter. So now is the mode for that want to tell you, there is the subdivision surface, which help you to make your object look smooth. There is this one, which is called the mirror, which will help you. For example, let me show you what does in actions that you instead. Let me select this spot delay the faces right front w. Ca go to X mode, select this spot X. I know. X and faces. Right, now you can see what's going but let me go to solid view. Let me first of all, activate this clipping to. Then even this mode, make sure this one are actually selected. Or active. So now what you're going to do here is come through the front view, and if you move one side is going to be it is going to me moving the other side. So this is why the mirror mode file can help you. It's going to help. It's going to reduce the work of rather than working on one side and going back to the other side, it is going to help you to actually only work on one side, a de is going to be reflected or mirror to the other side. So that's the usage of this mirror mode file while we are actually model. So there is another one. Let me first of all, leave the top part so that you will understand this. Let me go to, let me just first of all, get out to X ray mold. So this X ray mold is like it's like this wire frame, you want to select behind and see that one. So it works the same way, right? W the same way. It just I just let all decide at the same time, the back, also the front, and also the you only select the front and then select even the back, right, because it's activated. You can see that if it selected and I select this, it's only going to select this part, right? But if I select this and then I select this, you can see that also select it all of the side. Right? So let me press Control T is something that I want to show before we get started by modeling our object all the back. So I'm going to come here and delete the top pot. So let me first avoid join this together. Let me use this. The vertex can select this pot and press G x So the red line is one, kind of, yeah. And so you have to know the arrangement of object the mirror is always on the top so that it reflex the other side and the subdivision to I has to go under the mirror notified so that it is connected very well, right? So now I have deleted the top part. So what I'm going to do, let me view. There's another modifor that we're going to be using, which is called solidifying modifier. So this one adding the thickness to your object. Let me show you what I mean. So let's see, this is the solidify. You can see there are some thickness actually coming to our object. And if you want that you're going to just align the thickness, and it is going to be adding the thickness without actual. You're going to go through the extrude, all of that. So this helps you want your actual to have some thickness on your object because at the first time, the cube is just like a paper, right? So if you adding the thickness, it's going to look like have some on the part and it is with this modified help to adding thickness around. There's one thing also I like to do is this one, which is called only the reg, so that let me fill this only the ring so that I don't get too much because all we only adding all the facts and don't work that you. Okay. So now I have showed you all the tools that you're going to be needing in order to create our bag. So now, let's get started by creating the big, and I'll be showing you also other stuff while we are doing the nod ling, right? So now, let's get started. I'm going to press here and the press X, then vertex. Then I have deleted all of my object, and I'm going to press to object view, and I'm going to press Shift A. And after pressing Shift A, I'm going to bring back my cube, right? So with that the modifiers added, I don't even need that right now. What I'm going to do is first of all, add in the first of all, add the mirror modifier and the lead the verte so that it's going to be easy for me to actually mirror on the other side, right? And then I'm just going to bring this on this side, remember that I'm in front of you, and I'm going to bring this on the other side, then I'm going to rotate this, and I'm going to remove the X ray mode, go to select faces, and I'm going to select the faces and press X and lead the top faces, right. And now what I'm going to do is select this and press X and the Scalet on the y axis. And by the way, I have pressed X on scale. And what I'm going to do is adding a root here so that I just start aligning my object to the way I was. So the bag was looking like this on the side. And maybe I can even bring this one here, right? So now, I'm going to go to the front view, and I'm going to start adding in something. Maybe I can even bring this on the front and maybe this one, bring it here. And I'm going to add in some cats, and I'm going no by the way, adding a root catch this line that you see is Control R, and let me add it again by pressing Control R. Then I'm going to press Plus after pressing plus. It's going to be scrolling up like so. And then I'm going to press another mark, and I'm going to press it here. And now we have this simple simple this simple object chart. It is going to be a back in a few minutes. So now what you are going to do is I'm going to go to front view and adding a simple modifier, which is the solidify modifier and going to come and adding the thickness and I'm going to adding thickness only the namlt only the rear I'm going to screen it so that it's not too good back. The thickness of the bag is not too much, and I'm going to come here and adding the subdivision surface. So now you can see that it is starting to get somewhere along and I'm going to give it on level two, I start to see that it's starting to be smooth and then I'm going to press A and then I'm going to Um, I want No, let me go first of all about object mode and yeah, shade all smooth after shading. Auto smooth. Now I can see that it have actually been had been had been smooth on this side, and then I'm going to check for the nomals. So what I'm going to do is come here and check if the normals are correct. So let's see and I'll set up this car with cheese that can have the stuff. They'll be able to look just looking well. And see the mockup and. Let me walk with this product. So now what you're going to do is to check the normals and let's see face orientation. Let me see the nomis I think they are fine. Probably they are fine, right? Yeah. The nomals are fine, so it doesn't need to do anything. So what I'm going to do is come back and from a Has orientation, just move it. And I'm going to start by adding some cuts here. So that the back we get some sides. Then I'm going to break something around. Here, I'm going to add something around here and maybe adding what we've got here also and we got here. Let's press stop and go to object mode. I don't know why this is having this weird stuff shake. This one has maybe in between. Remember bred dishes. But they have something going on. I don't understand why it should be something what's comes in and the bit. I don't know what sell. Alright, so let me show you what I did see, right? So I want to corret that don't corvet maybe the bottom. And maybe I was I just need to lay the bottom part and let me see, I deleted this part, and I'm going to come and start extruding it so that I make it the way I want. So I pressed eggs and deleted the faces, while holding control them, I selected these edges, and now I'm going to start excluding some of it like son and I'm going to exclude it gag and again and then press pf, right? After pressing F, and you got object more, now I can see that the bottom looks pretty clean, but I still have this so I don't know what is happening around here. So maybe I could I add roof cat here. And another roof cut around Benother one about well and also adding another roof cat here. And another roof cat, maybe around. Probably like this. This is going to work. All right. So now we have I've actually completed the bag, but let me also on the top, just like skillet on the skeleton of the edges. I'm going to come here and like this but I'm going to come here and skillet on x in the Let me add to it, and that's like Vax. So this is this one on the good proportion editing rack. So you just do articulate this on the proportion editing, and the shortcut is all and just just press all. And you're gonna also see it in the PDF that I have gave you. There, right. So now I think the bag is ready. But let me just get it on the x again. Maybe like maybe like so now you can see that we have a pretty interesting bag, right? So now, move the cavity back. There is something I'm not liking here. I think this part to be like a little little too small. Machine there line on worry. Henki has this frog, right? But it's not even necessarily need there because we're not even going to be doing that, right? So now we have finished the bag, right? You to finish the The first part of the bag now going to come and start creating the handles where a person actually takes the bag carry. The way we go to doing this is by using curves, right? We're going to be using curves so that we're going to be able to make it route, right? So let me show you how we're going to do it. So we're going to go to the front view and come here to the edges. After coming here and I'm going to select this H and then I'm going to press shift and cursor to serect it, it's going to come and it's going to be snapping there, and I'm going to press to object mode and then I'm going to press shift A and add in the curve. And I think I'm going to go with a the knob curve, let me use a Bs curve, right? So now once I have done that, I'm going to come here and go to edit mode, and I'm going to start aligning this the way I want. Right? I'm going to come here and select this and I'm going to bring it, like so come here. Come like this card and I'm going to come and select this spot. I think the basic curve is not working the way I want it to be. So I'm going to have to come here and delete this and I'm going to shift A at the nub curve. Then I'm going to come here and bring it here and bring it on the side here. Let me see. We can just photo press shift and set this and press, escalate on the Z axis and bring it here and just the mode this and this one and I got to call and I press E Z, I'm going to bring this on the top here. I'm going to press and sorry for that. I'm going to come and bring this here. And I'm going to bring this one. Eggs and rotate it just, like, so they're going to come just at there like so now we have done that. What you're going to do now is adding some like the geometries, right? So we're going to start we're going to cave to the curve settings and here. And I'm going to car now it is say geometry and that way to scroll down to the depth and then going to scale it like. So right now we have created a end look, and now I want this to be going to the top, so I'm going to bring it, so maybe bring it. Like, so it bring it down. The way I'm going to do it, I'm going to press A in that bring this here. So now I'm going to go edit inside because it's going to be it is going to be at the picture is going to be taking on the front, but when you come and press shift and duplicate this R Z parent, bring it back sheet, D, right, and Z, 180 degrees and then just rotate it on the other side, and then I just bring it like so, right? And I think what I'm going to do is select this one and maybe just come up and select everything this proportion. I'm going to come with this one. A So the way, by the way, the way I selected one object where they were actually attached to each other. The way I did by a a. A, So here, what happened is that they got snapped to each other, then the way you separate them because I forgot to actually go back to object mod and make it separate one. But there is no problem with it. You just press P and you just separate them and then one goes on the other side and you be able to edit one at a time, right? So now you can see that I'm able to edit 11 curve or the time. I want to bring this on this side and this one on this side also here so that it is aligned, not not going to zoom me. I'm going to zoom out, and I'm just going to bring this inside and this one inside. Standard is going to this. Is one got to object mode and that the side. I can see that something is carrying out. So I'm not going to be joining this together because I'm going to be seeing later on once I make another course of animation of this bag, then I'm going to show you how you're going to join this song but for today, I'm just going to be stopping here for the first chapter. Alright now, guys, so if you have take until the end of the first chapter of the coast, thank you very much. So I showed you how you were able to create your bag in blender. So now the second chapter is going to be lighting this object in blender. But before we go, um I want to show I want to actually add in an object. So that's going to be sticking down, right? And I'm just right. Let me just input this object, right? I'm going to input an FBX FBX FBX. I'm going to come here to my download on press. And after I've been going to compressed, I'm going to go to my assets, and I'm going to come and see what say the plan I tends on the assets. Song just says want to buy the care divorce. Right now, I'm going to come and input this as an FBX downloads braced assets, and I'm going to come with plants and input this So now I'm got to scale this I'm got bring this ****. Just to chill up say what? I'm shack. I was so ble. I Is not supported. I'm just going to come here and copy this. I'm going to bring it slice library. I'm just going to input it as an BJ Copy it here. Input this and input an BJ that I'm going to come. I'm going to download call first assets and share LBJ. Wave input on the OBJ. But why it bring in this one? This is not the one that I want to use. This chair. See. Be Alright, so now this is the one I want. And I'm going to come to here. And the rotation. I'm gonna pound that maybe 100 in there. 180 180 minus R X -100. As to set I think. Dude. I'm going to give you this chair so that you can use it to follow along. So I only added this chair so that it's going to have a nice kind of um I did this because I want this back to have a nice piece to be sitting on, don't lay on it's going to be adding the orzing those stuff. Is going to behaving good. It's going to be looking good with this because I realized that only making a produvisualization, and modeling one or just lighting it is not good. So you have to have some assets that you're going to be using for a good demonstration for what you page so that if a person see it like a sitting on a chair with all those details on which is going to give your object. It is going to give your product or what you're actually creating look very more good because art it makes your object look white better. So that's it for today, guys, I thank you very much for sticking until the end of the first chapter of the course. I'm going to see in the second chapter where I'm going to teach you how you're going to be able to start lighting your object in blended. So now, I'll see you in the second chapter. 3. Second chapter: Okay, guys, welcome back to the second chapter of the course where I'm going to teach you how you're going to be able to get started lighting your object. So now in the first chapter, I showed you how we can just model a simple bag and blend that. With a lot of doing, and I can just put it on a portfolio or your clients for the front. But I told you that I didn't join these handles on the top so that you're going to be using this later on in the upcoming in the upcoming course for animation of the bag. So now, guys, I'm going to show you how you're going to be able to light this object, right? So the first thing that the first thing that you're going to do is I'm going to show you the tools that you're going to be using here, right? So we're going to be using these lights, right? So we're going to be using this like one, two, three, four lights and this background light also. So let me tell you which light we are using here. So you're going to be using this area light. There are four types of lights in Bina. There's this point light, the sunlight, the spotlight, and the Nia light, right? So all of this light have its own use, but there are two ones which I never used in my life, like this one, like the sun and the spot. But maybe the spot, but the sunlight is really bad because you can just even you can even use an HGL light rather than using the sunlight. So I think this one is honeymoon useful for, like, product sualization. But this area lights and the point light they are useful, but we're not going to be using the spotlight in this demonstration here, we're going to be using this area like now let's get started going, right? So, the first thing that we have to do is I'm going to show you what we have here. I'm going to come here and press H. Hid this and one, right? So we have this, and you can see that this is just like an empty space, right? So this is where we left on the previous one. So we're going to come here and go to the word and first of all, make sure that the word is at black, and the strength is zero, right? So that we're going to let me hide this So that once we go to the outline, let me just hide all of the lights. Let's see, we're going to hide all of the lights. And you can see it is completely black. So what we're going to do is show you something you didn't know. I'm going to be using like this one. I'm just not bring this one. Maybe bring this one on this side, right? So if we add in the light on this side, we're going to come in here and render. You're going to see it's going to start adding one like for actually the shadows, right? But in order to do that, we have to have a nice background on that part, right? Let me just bring back not this one. Let me bring this fro here. So for the materials of the fro, what I did here is that I came and selected this fro, and I made it completely like I made it completely like a grass, right? So on my principal BSTF, I increase the metallic and to go all the way to one and I decrease the roughness all the way to zero, right? And then I add this light, right? So now the light is hitting here and you can see that you're starting to get the shadow on this side, right? So let me go back to the outliner and I'm going to come here and bring back another light. This is going to be a back light. Now you can see that you want to bring the light here, let me show you where it is. So this is the light that we have. So this is the light that we have. So now we have two reflections on the back at this side, and I'm going to bring another one on this side. So once I bring this one, it's going to be like it's going to be casting the reflection on the front, right? So now you can see that this light is bringing the reflection on the front, right? So now you can see that we start to get somewhere, right? So now the light is hitting on this front side. Right? So now, once you see this, this is actually going to help you to understand. So this is like three point lights. But I don't use three point lights. I use like four lights in the pride from the background. And then I just added this one. So there is this live which reflected here in this live from the back, and this one is hate it different. And by the way, the way you move your light is, the way you move your lights on its normal axis is by pressing G and pressing and G. Sorry. So the way you move your light is by pressing G and ZZ, and it's going to move on your normal on its normal axis, the way it is, dislps your light in moving your light. And this one also you just press G and ZZ and you move it to its axis. Because you can see that there is no access here. You can also use this by moving any object on its normal access the way it is. Now, I want to bring back another light so there is this light here, right, which is going to be the top light, right? The reason why I brought this one is to just cast also the reflection on the top, right? So now you can see that we have this one, all the lights. So we started from this side, you saw that there is what was a few light hitting here, and there was another light hitting on the pipe for actually getting this kind of detail. And also the first light for actually showing this front part and the top part for the top, right? And now for the final chip to show you how you can set this, you're going to have to come and activate the plane. And once you hit the plane, it's going to light the back. So the background we had was having these two sides, show you. Can you see it is having this side and this side for not casting the light for the light bouncing in between here. And with this plane with this plane with the meter, it's going to actually give you the best light on the back. So what you're going to do is come here. And I'm going to come to the shadow. Let's select this one and come to home. So now, my emitter is 3.4 of power so that it is able to actually emit this light. So in so how can you add the emitter request Shift A and search for the emitter and it's going to pop up here. You can just bring it light, so Alright, so now you have so that you have seen the emitter and the power of it. Come and you open this. You make this type of shape, and you bring a plane, and then add, you give it the node of an emitter, and you're the one who's going to actually keep its value. If you want to follow the value that I have used here, let me go back to the properties panel and show you. So I have used 10,000 words for this one, and I have used like 10,000 words for this one, also this slide here, and I have used this also for 10,000, and this one And this one I gave it 1,000, right? So you can see there are three lights with one light on the top, hitting here. The reason why I added this one on the top is for giving a nice reflection on the top. And with this background, with this background of metalness and roughness down, it kind of comes it looks like a grass or a mirror. And we don't like being cast on the back from this plane, it is going to make it completely white. So now, once you've done that, you're going to see this type of render result this light reflection here, which will give you the results of the render that I showed you in the intro about So you're going to get the result that I showed you in the intro about that image of the bag. Alright, now, so, guys, thank you very much for sticking until the end of the second chapter of the course where I showed you how you were able to light your object in blender. So the third chapter is going to be on how you're going to be able to make some Uvian rock and show you how going to be able to e put in substance painter and make it before adding materials. And the next one is going to be adding materials and show you the way for the node groups that you're going to be using and how you can actually the detail of your objects so that you'll be ready for rendering. So if you stick until the end of the second chapter because I'm going to assume the third chapter where I'm going to show you the UVNrp and I really appreciate your time for sticking until the end. I'll see you next time in the next chapter because. Bye. 4. Third chapter: Hi, everyone. Welcome back to the third chapter of the course. We I'm going to show you how you're going to be able to UV and wrap this object, right to all this back. So in the previous chapter, I told you how you were able to light this product. So now I'm going to teach you how you're going to UV unwrap this product. So the way you do this first is by knowing what you have to press your seam where you're going to UV and wrap it. So the way I did this is just that, um, I came here and I selected this and I press but to edit mode and I started making the same. So the way the UVN wrap works is this way. So you have to find a way to cut your object so that it will be a flat plane. There is a lot of ways. For example, if it's a cylinder, you have to go on the top and like, let me let me open a new SM me a new sending blender. Let me just save this. All right, for example, this is a cube, right? So for example, you're here and you want to ven rob this cube. Let me go to some like go to new to the animation I don't see. So you're here, right? So now you want you want to ven rub something. For example, this is a cylinder, right? Let's say that this is a cylinder and you want to use it wrap it. And you have a circle around here, and maybe the vertex. So the way you have to do it, you have to maxing on the top here on the circle, and you have to bring another line here to cut it into half so that this area will be flat so that it'll be looking like this, right, so that it will be looking like this. Yeah. So now if you put a line here, it will be cut in here and then to be flat, you'll be left these two circles here, and you can lay down and use that rap whenever you want. And let me show you for like a cube. You know, a cube is like a cube is like this, right? Sorry if I'm drying badly, but a cube is like this. Right? This is a cube. So if you and rub this, it's going to be. It has to be looking like this. So you have to find a way to cut it and maybe one here, another one here because this should be the top and another one here. You have to find a way to do this super for the cube, it is easy because you can just you can just use Smart TV project because the b doesn't have a lot of detail one, then the Smart UV project, we just like UV this one, so is then to deflat and this like this. But this is what the wrap. It's a way to find to take an object, which is like a cube, a cylinder, a cone, any object, and be able to cut it into half, make it flat so that if you add in if you add in a material or a UV or if you add in a material or a texture, it is going to be able to know how it's going to read on it. So that way will be written on the flat surface of the Uvenap. So br now, we cut it and that will be flat and then the texture will be able to be added to it. So that's Uven wrapping, right? So the way we do that once we have a complex object, but the bug is not too complex, actually, but for the bag, you can see that they have bag some seams, right? So this is like a cube. So for me, I want it to be stretched that I separate them into different parts. So I took every part of my let me go back to Obliq mode and hide this edge and edge and edge. He. Let me hide this for now. Alright, so now you can see that this is This is our bag, right? This is our bag. So the way I do it, I just I just cut it every piece into its own individual by marking the scene. So, for example, if this scene is cuted here and it goes down here and it goes down here and here, so this is going to be a flat climb once it is V and wrapped. So let me show you in the UV details so that you can understand this. See, they are all separate individual, right? They are separate objects in the UV. So this one is like this side here, and this one also is like a side here, and this one also in the bottom, it is one side here. So it's better to just if you sit there, you don't know how you're going to envelop something. You can just go in the shape you have and find a way to cut the pieces that you want into their individual so that you'll be able to wrap it clearly. So this is the way I did it. I just went there and I started to bar the same here so that blender will know where to cut. Speaking of them, how can you mark them, right? The way you do it is that you come here and selt a vertex, the vertex? Yeah, this is an edge. I confuse them a lot in the vertex, but it's still the same thing. It doesn't matter. So one is this one is the edge. You just come and pick the edge that work about the same. For example, I have selected this edge here, let me just first of all, clear the CM now I have cleared the SM, and now what I'm going to do is place ControF and let's shoot W. Sorry. I confuse them with grateful again. Alright, so the way you do this is by coming here and you just do the right click and you come here and select what it says McSM. So once you select that McM, there is a red line which is going to be put here on the part that you have selected on the object that you have. So you can see that even in the inside, I have actually separated them because you can see also on the top that we have this stuff on the top, right, with the thickness. So I even cut the thickness separately so that I won't get any problem of even wrapping this so once I have cut in my seam like this into the individual, then I went and pressed and I even wrapped in the way I did it, if you're using a new vision of blender, you're going to get this one which is minimized stretch, and the one you play the minimize stretch, it's going to your view wrap. Right, and you're going to get a clean V. So that's the way you can actually build a graph this. So in the previous video, I told you that I am going to show you how you're going to be able to export this so that to be ready for substance painter. So the way you do it is that you come here to file and you come to export. And then you come here where it says, right? So once you come here, you have to come here and click your NTS selection only, and you just come in pre selection only. And once you press that, something anything which is selected in the same is going to be exported as an OBJ. So you come here and export wave OBJ. You can even export it as an FBX if you want, but we prefer OBJ because OBJ E doesn't have any materials in there to be adding the materials. So then what I did is that I came to selection only, and then I pressed Export OBJ. And then I needed to buy it I actually put it on the desktop here, and then just export here. It was done. But before you do that, there's something that you have to do first, is that you have to come here and activate your you have to have something which is called the material, right? You have to give your object, the material so that once it reaches into substance pinter, it'll be easy for you to know where to actually give the material to your object. So now, guys, that was for the Uvan wrapping. If you have stick until the end of this chapter where I showed you the UvN wrap and how you can expot substancepnter, thank you very much. I will see you in the next chapter where I will teach you how you're going to be able to where you're going to be able to use substance pinter and add the simple material to your bag and be able to create the result that I showed you in the intro. Now, guys, I'll see you then. 5. Fourth chapter: Hi, everyone. Welcome to the chapter for adding material to your object and blender. This is the fourth chapter where I'm going to teach you how you're going to be able to add in the material to your object. This is substance printer. Before we open blender, there's something I want to show you in substance printer pretty quick before we get started. I'm going to show you the basics on how you can add in the material and the things you need to know before you do anything in substance printer. So this is going to be your first scene once you have you open your substance painter and you want to add the material to your object. This is the scene that you're going to see. The first thing you have to do is to know which materials that you're going to use. But first of all, let me show you how you open a new thing, you come here to file. You just plain control and you come here and select an object that you want to select and I'm going to come to the desktop. I'm going to scroll down let me bring the and bring the bug, one BJ open. It's going to be selected there. I'm going to choose the resolution that I want. I'm going to see this one. There is this 2k4k, 520 512. These are the resolution that you're going to get, but loved to be better if you just use the K resolution and change this to direct X and then press Okay. And it's going to show minutes and it's going to open the back here. Remember in the previous one I showed you how you can add in how you can add in the materials. Now you can see that I can also take around here, this is the bag that you have created in blind? These are the UVs that we have here. So this is what happened once you have UganrbT is the usage of uganap. Once you have the best Ugan wrap, it's going to give you the best quality material to your object. Now you have done that, what you are going to do is let me just put the sideline. I'm going to first of all, explain to you the things that you're going to need. First of all, you have to know the materials that you want. I'm not going to go for details on the materials, but I'm going to show you the best way to get the best quality materials that are going to go to customization. Here here in the material tabs, by the way, the materials are on the side. Here is where you find your materials. The one of the materials and smart materials. There are also smart mouse, file, brushes, art environment. They're not going to need this one. I'm just going to be focusing on these too. There are these material, this one that have a lot of details on it, and there are also the cross mart material which have the best quality material to give to your object. So me, I prefer using smart materials because sometimes they're not realistic. You can just go and customize them, but the way they are made, you don't need to go from scratch. It's a building material inside the substance pen there is no need to do that. Now, if you drag and drop your material to the object, you're going to see that it's actually going to bring it to this. But you can see that the details are not way aligned the way you want. Let me just, for example, show you this one. Let me just like this part here and you can see, there is no problem around here, but it's not there is a thing that you have to know in substance painter before you add in anything in substance painter other than in blender. In blender, you just import you just add in the shades and the textures, then you bake later. But in substance painter, that's not how it works. The first thing you have to do before you do anything in substance painter is that you have to come and change this and first of all, bake the bake your object before you do anything. So you have to compare to mold and come to say bag beg maps, right? And once you're here, you're going to see these big selected textures. But first of all, let's first of all, change the solution to two k. That's the way we want it to be and then just bring this back and you just bake your material, your materials as it is like that, and now it's going to bake your object and it's going to give you a pretty nice result after baking this. Now it's going to be baking this and it's going to bring in the it's going to bring in a nice quality object and then once you add in the material, it's going to give you a nice result laid out. Let's return back to the painting mode. To go back to your painting mode and you're going to come and search for which one can use? I'm going to be using labor so that um that can I'm going to be using it. Let me just come and drag and drop this one and maybe you can see now that the details I give it to to your material to your object. You can even come and add another one. There are different ways. You can see all of them that they look pretty nice after baking in the details nowhere to go and everything. You don't need to do a lot of things here like going to the nodes and doing that. This is not all about substance. You can also come and paint and customize and make a good result in your object. This is how you're adding material substance spin. I just easy steps. You don't need to go too far. For me, this is. I don't want to do that because I don't want to go for details on adding other materials or customizing them or adding mask or stuff. I'll be making another course for substance painter only so that you will understand more deep into substance painter, how it works, how the layers work, and everything. Stay tuned. I'm going to be making another course. On selbstt spender only. This is how you just add in the simple material to selbst spender. Then there is the last thing. Once you have done this, I don't want to even go through all of these the normal. I don't need to go through all the normal there nothing I don't want to have more like a By the way, before we go, let me tell you how you navigate it to substance painter. It's art and your mouth and you move with your mouse and it's going to actually go through that. How you zoom it, it's scroll, you pin and scroll on your mouse and then it is going to scroll as that. That's how you add in the material in substance painter. Here is how you export your material. You just come here to file the export textures and you come and set the price where you want. You want to actually put your texture to here to back. I just making you fold may be textures. I'm going to make the textures and set the textures. Select the photo and then I just hit Export. Now my textures are going to be ready for use. Now I can close my substance painter with this simple material that I have added on it and just go to blender. I'm going to come and hit blender. After going to blender, I'm just going to come, and activate the non regular don and no regular don. I can just press control shift and T and just add in the materials. Let me show you the steps. Let me show the steps and actions that you know how to use it because I want to go step by step without doing something heavier because I realize once you're learning something, if a person goes first into deep and the first and to give you more information in just one tiny piece, you're not going to get any But if a person just show you small tricks and you do something tiny, and then you grow on it, and then you grow on it, it's going to help you a lot. Let me show you what I mean. This is the bag. Now we are here. I'm going to come here to the shadows and I'm going to come to my shadows. I'm going to come here and delete this one and delete this this one and this one and this one Shift B. I hope you're using the PDF that I gave in the curt description. Now, pressing Control Shift and T, then you're going to come here to the desktop where you save your file save it on the desktop and I'm going to come back textures. I'm going to come in to textures, press a select and they're going to come let me go back to Object mode, press zero to go to my camera view and press Z, Brandon, and I'm going to check what happens now. You can see that our material is added to our back as easy as to dug through all of these nodes. Now you have understand that there is something that I want to show you that will increase the results. You can see that this node doesn't have anything where it can attach to it. The way you do this is by precix Shift A and I search for Cara mix, call it arm mix. Mix color. The one. Mixed color and just come here and you connect this one to this one and connect this one to this one and then you connect this one to this one, you can see that you have changed the color and you just come and change it from mix to multiply, and then it is going to even add in the details. This one is the ambient inclusion. Now you add it there and you can even add in the car ramp to just control it. You just press them car ramp and connected here and you can just to I made a mistake. I and connected here, and I think. A bit creen come and control have been creed. The way you want it to be, this actually are more you taught your objects like the shins and the because a lot of times the sect don't bring in than coming here to just move this node and other one will be better if you use this one but you can see that the light here is actually working very well. You can also come and change up your settings and device to get the results that you want. But for me, I don't want to go far than this because I've been making advanced one coming courses so that I go there because this one is for people who are intermediate and beginners, it's better to give you information that will help you to understand. Few tricks so that you'll be able to move on to the next. But first of all, understanding the small things that you can make anywhere you are. Let me I think I'm just going to bring back the way they were. So this is the bag, don't save. I'm going to keep it the way it is. Object. By the way, by the way you save your substance pens also cons you just save it and maybe name it by call it Bag save it. And now, see that it's saving and I can enclose it. Now you have understand the we can just add in the simple bateria from something spinter to blender just simply using a but material here. Now you can come here and save it. Before we go, I want to tell you something that you have to understand if you don't have the node regular pest control shift and g and be able to actually align your nodes pretty well. You have to come here and let me return back. You have to come here to render edit preferences, and you come here to add on and search node. Non regular dm and activated by pressing this tick and then you come and save if you're going to add a material to your object, you're going to come and select your ob best control ship T and to be easy and you have to come and select your like this one best control shap t and you'll be getting this where you say, you have your textures and you just principle texture set up and to be added to your object easy as that. So that's how you add in the material to your object from substance painter to blender. Those are the first step. I'll be making another full course on substance painter so that you know how to add in those crunches, how you can add rust to your objects. I'm making that courses also and I'm going to be making that courses also here soon. So I will see you there and the next chapter is going to be rendering. I'm going to be showing you how I'm going to be able to set up your camera. Also a depth to field and remove your denise and remove your noise to your object. I'll see you in the last chapter of the class. 6. Last chapter: Hi, everyone. Welcome back to the last chapter of the case where I'm going to show you how you're going to be able to render your object in blended. So what you're going to do here now is one thing. Let's me, first of all, go back to Sorvi so that I'm going to show you the first thing that you have to do before you do anything, right? So you're going to come here and, Come here and first of all, bring in a camera by pressing Shift A and then you're going to come and come to log in the camera. Then let's send it to active by pressing light click and you're going to get it on the side. And I'm going to bring it back. So the way you set your camera is by bringing here and pressing control art and zero, you're going to come to view on your viewboard. Like, for example, if you want to get this view of a chair on this part, you just press the camera that you want to set a press Control art and zero, and it is going to actually get the shot the way you want it, and you're going to bring it up like so. Another thing that you're going to do here is actually um adding in an empty for the depth field. So what is the depth field? A dept field is something that helps you to actually attach to the thing that you want. For example, if you want to actually if you want to actually get something if you want to take the shot of a particular place, you just go and add in an empty, you add in an empty and after adding in an empty, you bring it to the top, like so and where you want it to be. Where the empty is, that's where the camera is going to focus on. So the usage of Dept field is actually, you know, in the real world, once you're seeing something, other things on the environment they are bright. So you cannot see everything at the same time. You only see what your eyes is focused on, but remember there's still going to be environment around you. So what's going to happen is that, or what you have actually focused on is going to be the one which the dept field is going to show and the other one are going to be br For example, if I come here and select the camera, I'm going to add the dept field and pig up this one and bring this one here and I'm going to bring this F stop to 0.5 after 0.5 with a press render. This is going to be the dept field here. You can see that. Let me fo bring it down like so. You're saying this, you can see that the chair is actually bro. Your chair is broad and you cannot see anything else. But the bag here is actually heavy. It is not brad. It's also shown in the scene. So that's why it's better to use dept field because it gives you the best quality where you actually actually focus on what you're editing on and the other is going to be environment they're going to be br shoving there's something behind, but you only see what is focused on the camera, the the only thing that you want your camera to show. So that's the usage of the dept field. So you have I love using like 0.4 film. And after doing that, it actually shows it shows this one. And once it is done, another thing that I like fors is that you have to come and add you have come that indicated this concentration for the camera and bring it back just tiny. Let me just it like this part. It back. Now I have shown you I can set your camera at the best way. Always remember guys to check if your foe current is at least 80 to get the high quality image, and also that there is this depth field here that is going to cast on this part here so that you show the camera will only show what you want people to see, what your camera is going to be focused on, and also take this one for for the to make it a make the fo correct to be eight so that the camera is zoned in a little bit that's how product that's how protector at shot in the rear wood camera on the rear Wood photography and once you have done that, another thing that you have to do is to include this part here and the pass peture so that it is going to be all the way to the top that feature at the full minimum. So at least you have to reach one, so that everything here is going to be broad. The settings for this is in this camera set. Now once you have done that, you're going to have to come here to here a lot of time for you is going to be even, so you have to change it to cycles. Once you have done that, you have to come here to render and that makes something of at least 100 so that your render will render it first. For you, the dfor the thing is going to be 40,095 I guess I don't remember if this is the correct samples, but this is this how far your samples are going to be, but you have to change it for 100. The reason for this is like, doesn't it doesn't matter how much samples you add it, but don't go beyond 100 or both 50, your render will become so your random will be low quality. But if you increase it or make it 100, it's going to be high quality, in that case, it's going in that case, so it's going to be if you have added at 100 s to be in between, so it's going to be looking good so that it's going to attract people, and you're sure to be looking very well, even in fo k. But if you adding more sample it's going to take longer to render and lay down, it is not going to help. It's not going to provide anything for you. It's going to take you a long time. It's going to be looking the same as also like a person who have rendered at 100 sample. And here you're going to behave in 0 seconds, right? So the way you're going to do this is by actually changing this 0-60, not one but 60. Because the reason for this, it is counting in minutes, you know, you know, like 1 minute is made of 60 seconds. So if you add it to 60, that's going to provide you 1 minute, right. So here, if you add in the time limit to 1 minute, it is going to make this look. I mean, it's going to render this in 1 minute. So make sure that it's going to be like that. Now I'm going to go and, um, yeah, there's another thing that you have to understand before you go to render here on the Filmmk right? Fm exposure, the windows. As you have to make it transparent if you have an HDRI, I see for user tiles. So your user tires is going to be like 202,056. And the better if you decrease so that you remember at small trees, right? So the tires are those when you're rendering. There are some squares that come along when you're rendering. So the smaller the tires, the greater, the greater the render. So you make sure that you you decrease your tires to 100 and this is going to be enough for you to render. And so now you have to come here to care management, and yours is going to be non here. So the load depth is going to be like that. So what you have to do here is change it to high contrast, right? So once you change it to high controls no behaving issue with any, I mean, your render is going to change very well, right? So for example, let me show you if it is like that. The way is going to keep looking like, n just lab that here. So now you can see that this is not good right, but if you change it from here from noon to high contrast, you can see there are some changes which happens here. So another thing is to move the noise. But before we go to the noise, let me first of all, show you how to change your resolution. The way you change your resolution is that you have to come here to the output properties and this here where po I have attached my mouse so that you can see it here. You come here and the resolution is going to be like your going to be like this one, 190, you have to come and change to fc. Once you change it to four K, you're going to come here and reduce the topon so that integers this. Shape sig so that the camera will be not in like a started shot. That's how you're going to be able to render this one. You have changed this from ST to foc, and you have to come here to here to the output property here also and change this one and locate where you want your file to be saved for example, if you want to sell it to your desktop, a. Now, what you're going to do here is change, I mean, come and select the photo that you want your file to be saved this is on the desktop, you have to come and put on the desktop and that is going to be saved on your image is going to be saved on the desktop, right? Or you can just even save it later in the final random. This is where you're going to actually pick up your file by format. Me, I just wanted to be PNG, but you can change to JP if you want to, and you have to change this to the RGB. This no, this is going to be all the colors now black and white only. There's another thing that you have to add here in the you have to come here to simplify so that it renders more faster than it should. And once you have done that, what you're going to do is come in to the compositor and also search for this the noisal and shift and search for the noiser and once you have brought it, the noser you're going to have to connect it here. For you, you're not going to be heavy all of this point on the surrender layers. So what you're going to do is come here and first of all, find a way to change it. The way you change this is come back here to your properties and come here, the change it to going to come here to your layers, D layers, and I'm going to activate your denoising data. Once you have activate your denoising data, you're going to come here and go back to your compositor and you're going to see this result and you're just going to connect this result, then connect here and your noise will be removed once your render finishes. So once you have done that, what you going to do is come here and then it's rendered. You can just press EF 12 or just come here and render and render your image, and that is going to render so fast with the small samples given it is going to render here. What you're going to do once you finish it, you're going to co and come to your image and save us seven let's make it finish. Let's let it finish the washing, I save this image. I want to see how long it is going to take. So if you're starting, you have to know that sometimes the renders are going to take a few minutes to render. But if this was that thousand samples, it's going to take a long period of time to finish. It's better if you just make it. It's better if you just add a few samples to it and then let it. It is going to render up to 1 minute. You have to reach 1 minute without actually finishing it go to cut itself because remember that we have actually set this to be time, one time or one time limit. So it is going to render first trying to find a way to this one. The tires are squares that you see here and the rendering now. After rendering, it is going to I is taking too long to render null All right. So now, guys, I think this is pretty much this windows. But I'm going to show you once it finishes the way I'm going to be giving you the details once your render finishes, the way you can just save your image first without going to go to that output and save it there. I'm going to show you after reading your image, how you're going to be able to how are you going to be able to save. I'm going to be putting some scripturs of the final render in the class description so that you will see the way you can save your image after being rendered in blender. So now, guys, thank you. I have reached the end of the course, and now finally, I can say that this is the end but we're going to be meeting later on other upcoming courses. For example, I tell you that I'm going to be bringing a full course on substance painter. Now, guys, thank you very much for sticking to the end of the course, and now I'll see you next time in another upcoming course of B.