Blender Workflow for Beginners - Model a 3D Leather Couch Step-by-step

1. Intro: Welcome back to another awesome class with me can. As always, I'm super thrilled to have you here. And today. I'm going to guide you through the step-by-step process of modelling a stunning 3D leather couch from scratch using blenders, most commonly used tools and features, whether you're using the latest version of Blender or older versions. This workflow will apply seamlessly because I'll be showing you blenders Universal Modelling tips and tricks that apply to all versions. By the end of this class, you will have a better understanding of blenders, powerful modelling tools. We'll be using Blender only without any third-party add-ons. Because it's always crucial to first learn how to use the default tools that come with any software will block out every part from the legs to the arm, rest, the backrest, to the cushions. And then we'll add the leather and wood and textures to all those different parts. Do some lighting and composition, and finally, render the 3D model. This class is specifically designed for Blender beginners. And to be more specific, if you've already learned how to install Blender and what's a couple of quick tutorials and get familiar with the modelling concepts like extruding and beveling. And you understand the blender user interface. This class is for you. But don't worry if you're completely new to Blender. The lessons are designed to be easy to follow and understand. And I teach with simplicity in mind to ensure that everyone can grasp the concepts effortlessly. The most important requirement is for you to have a burning desire to learn blender modelling. And in case you're wondering who I am. My name is Ken and I've been using Blender for the last 1.5 years. That's about 18 months, starting towards the end of 2021, I immersed myself in Blender and by mid 2022, I had gained extensive knowledge and experience with it. We then just six months, I had transformed from a complete novice to a confident 3D artist by practicing modelling daily. And throughout this time, I've been able to create several 3D objects in Blender. And my goal is to share all the knowledge that I've learned in the past 1.5 years. I want to create the 3D modelling classes that I wish I had as a beginner. Courses that introduced the most common tools and features of blender before diving into more complex concepts that can overwhelm new cameras. So I want to make it as easy as possible for beginners. And that's precisely how this class is designed. Beginner friendly approach, teaching you what you need to know right now, not later. Rest assured you will learn more advanced concepts later on. And now that you know a little bit about me, are you ready to embark on this journey of modelling realistic 3D couch together? Are you excited to enhance your skills as a blender modelling artist? If so, what are you waiting for? Joining me in this class? And I can't wait to see you in lesson one. 2. Class Project Overview: And as you already know, the best way to learn a new skill is by working on a project. So as I already mentioned throughout this class, our goal will be to model this 3D leather couch. And to give you a good starting point, I will provide you with a reference images used in the class. Simply download them from the projects and resources tab below the video player. Once you download the image folder, you will find a variety of couches just in case you want to get more creative. And once you've finished the class, share your work with the community and get some reaction from fellow students and me, your teacher, we would like to see what you were able to come up with. So upload your rendered image of their couch by clicking the projects and resources tab below the video player. Then in there you will see a Create Project button. And the process is just a few clicks. So now, why don't we open up lender and get started. 3. Preparing the Workspace: Welcome to this first lesson. So this is Blender, where inside the default screen, this is what you see when you open up Blender for the first time. And of course, as you can see, this is blended 3.5. Just to make sure you know precisely what I've pressed on my keyboard or on my mouse, we have this screencast gizmo down here. So when I press Shift, you will see sheath right here. When I right-click my mouse. Of course it shows that I'll click my right mouse button, left mouse button, mouse wheel. Basically it shows you everything I press on my keyboard or my mouse Without out of the way, every time I open up Blender for the first time to work on any project, I like setting up a few things to help me work better. The first thing I like doing is selecting the default cube. Let me zoom in on it and go inside the shading settings here and a naval cavity. And what that does is it makes the edges more conspicuous. The next thing I like doing is going back inside shading and change this to mad cap. And that gives the objects better shading while you're working on it. I just think it looks much better this way. Of course, feel free to use the studio lighting. If that's what you prefer. I'll go back to Mac app. And the other thing is because right now we're not doing any animation. I want to get rid of this timeline down here. So I'll just go here to this corner and drag downwards. And now we just have the modelling editor right here. And the final thing I like doing before I begin modelling is to bring in the reference image. So I want to split this editor like that. And in here, I want to change this editor from the modelling editor to image editor. Then I'll go to open. Let me navigate to where I have these elements or right, and I'll provide these images to use so you can follow along and rebuild this couch with me because of course that's the goal. So you should be able to find a folder containing all these images in the projects and resources tab right below this video player. So this is the image I want to import. So I'll select that. Then open image and there we have it. So I just want to have it right there. And now we're able to look at it as we build it right here on the right. And now we have our workspace set up to our liking. We're ready to start modelling. And we'll begin with the base. And that's the legs and this wooden board that the couch is resting on. So let's work on the base in the next lesson. I'll see you shortly. 4. Modeling the Wooden Base - Set Dimensions: We're back, So now we're ready to start modeling the legs and this wooden board right here. So of course we first need to know the measurements of this couch. So let me just pull in this image from my other screen and bring it right here. And as you can see, the length of the couch from the left to the right is 90 " and the height is 26 ". So going back in Blender, Let's begin by zooming out. And I want to get rid of this default lights and camera. So I'll delete that, then select the default queue. And of course, as you would expect, blender allows you to change your measurement units. If you want to use imperial or the metric system, we can do that by going inside the same properties units. And you can change that from the metric to imperial if you want. So by default, it's set to metric, that's kilograms, meters, degrees. If you change it to Imperial, that will change two pounds, feet, and inches. So now selecting this cube and hitting N to bring up the menu. As you can see, the dimensions here are in inches. And I want to model the seat facing this direction. So it means the length from here to here will be from this side to this side. So selecting the cube with the middle mouse button rotating. As you can see, this is the x axis. So on the x-axis I want to type 94 ". So that becomes 7.5 ft. So these are actually fit. I call them inches a moment ago, but they are actually fit. And going back in here, of course, you don't know the height of the legs or this board. So we'll just have to wing it, just make some realistic height. So I just want to assume that's a three inch board. Let me zoom in on this. I want to assume this board is maybe two-and-a-half to 3 " tall. So selecting this cube, scaling it vertically, That's the z-axis. Let's make it 2 " to him. Just like that. And now from the front to the back, Let's make it 2.5 ft. So two-and-a-half v in the y axis, 2.5 ft, two-and-a-half feet. There, we have it. So now we have a base that we can work with. Of course, you don't necessarily need to use these specific dimensions. Just use what looks realistic to you. 5. Modeling the Wooden Base - Shading Smooth: And now we need to do what we call shading smooth. So if we right-click, we have this option to shade smooth. But before we shade smooth, it's always very crucial, very important to apply our transforms. Whenever you change the location, rotation, or scale, you alter the geometry of your object. If you apply smooth shading to your object, before you apply any transforms, you changed here, you're going to get some weird shading. And that's a whole topic on its own. So to apply the scale here, while this is still selected, I'll hit Control a. And I'll just apply all transpose. But of course, the only transforms we've changed here is the scale. So I can simply apply scale if we had changed the rotation as well, we have the option to apply rotation and location. If we had changed all three transforms, we can simply apply all transforms. So let me just apply scale. And of course, applying transforms is a more detailed topic that you can learn more about. But just know that before you shade your objects move, you need to apply your transforms. And that means you will have consistent shading. If you don't apply your transforms, you might have weird shading results. So with that out of the way, let me right-click this and shade auto smooth. And the next thing we wanna do is give this board these rounded corners like that. As you can see, the corner right here is rounded, as well as the edge here. It's not just one flat face and a sharp corner. So while this is selected, I'll hit Tab on my keyboard. And now we're inside edit mode. If I hit Tab again, we changed back to Edit Mode. If we want to edit the phases and the edges, we need to be in edit mode. So tab. Now we're in edit mode. And while we're in edit mode, we can switch between Vertex Selection Mode, which is where we're able to select the different vertices. Edge mode. We're able to select the edges and make changes to them. And face mode, we're able to select the faces. What we want to do is hit a on the keyboard to select everything. Then I'll hit Control B for bevel. And then I'll pull outwards just lightly, but I'll hold down Shift to move in smaller increments. And then I'll roll my mouse wheel up to increase the number of subdivisions to make the edges. Just like that. Then I'll left-click to commit each tab to get out of edit mode into object mode. And now we have this rounded based. Let me hit Save. In fact, I hadn't saved that. So let me just create a brand new folder. So right-click in here. New folder. Leather couch. Leather couch, saved blender file. Now it says leather couch up here and see. 6. Modeling the Wooden Base - The Legs: So the next thing we want to do is create the legs. So I'll hit number one on the keyboard to rotate it to this side. So let me just show you on the numpad on the right side of your keyboard, hit number one. Now that changes to orthographic view. When we're viewing it this way, we're viewing it in perspective view. When we hit one, we're now viewing it from the front. When we hit three, we're viewing it from the side. And when we hit seven, we're viewing it from the top. And depending on which side you're on, if you're viewing it from the front, e.g. this side, if you hit number nine, you will view it from the back. That is the opposite side of the current orthographic view. Alright, so now going back in here, if I switch to the front view, let's hit G while this is selected G to grab it. While it's still grad, hit Z on your keyboard to constrain it to the z-axis. And I'll drop it somewhere there. And now we want to add the legs. So I'll hit Shift a. Then I'll add a cylinder because of course our legs are cylindrical. Now, when you add the cylinder, immediately you drop it before you click anywhere else you have this option here. Add Cylinder. You can increase the number of vertices. So let's give it something like 50 to make it much smoother. And while it's still selected, I'll hit S for scale. And scale it down completely like that. Switch to front view by hitting numpad one G to grab it, and then I'll put it somewhere here. Let me zoom in with my mouse wheel. I just want to align it to this line. And then S for scale and z to constrain the scaling to the z-axis. So now we're increasing its height. Just like that. And now it's in the middle of course. So remember we've talked about the orthographic view. So if I hit seven, we're viewing it from the top. But if I hit nine, we will view the opposite of top, which is the bottom, just like that. So now we're viewing it from the bottom. By zooming it g, I can place it somewhere there. Now if I hit one, we've placed it right in the front side. Now to save us time, instead of creating each leg individually or instead of creating this leg and then duplicating it, we can use what we call a mirror modifier. And a mirror modifier is one among many modifiers. So if I select this leg and go to this range here, which is the modifier properties. Add a modifier, mirror modifier. And now of course, as you can see, nothing has happened and that's because we haven't applied the transforms. So let me just get rid of that for a second. While this is selected, I'll say control a. Apply all transforms and on applying the transforms, one of the things that happens is the origin of this object moves from the Geometry Center to the world center. So if I undo that, as you can see here, the origin, the yellow dot. So once again, if I apply all transforms, as you can see, the dot has moved to the center. Now, if I apply the mirror modifier, as you can see now, it's mirroring this with this as the reference points. If I hit one, this is the reference point. So now if I rotate it, right now we're mirroring it in the x-axis. As you can see, the right side of the x axis and the left side of the x-axis. And now if we add the y-axis, we've also mirrored it on the left side of the y-axis and the right side of the y-axis. So there we go. Now, whatever change you make on this original object will apply to the rest. So if I grab it and drag it, it will apply to the risks. So let me just drag this and while this is still selected, I'll right-click Shade Smooth, shade, auto smooth. And that gives it that smooth surface. Remember we had applied transforms. That's why we don't have any weird shading. Now of course, the bottom of the leg is narrower than the top. So while this is still selected, I'll hit tab to switch to edit mode, rotate it. And while we're in face mode, select this face S for scale and make it smaller like that. And that will apply to the rest because these are not actual meshes, because we've not applied the mirror modifier. We will do that later. So now that we have that, let me switch the front side and of course the legs are slanted. So while this face is still selected, this space switch to the front. I'll hit G to grab that face. Then x because we want to constrain it to the x-axis and then drag it out. Words like that. And now their role slanted. Of course, because this is mirrored. We'll go in the opposite direction as this. And now we have our base. So right now we have something similar to this. In the next lesson, Let's see how to create these parts. I'll see you shortly. 7. The Leather Base - Part 1: So now we're ready to start building this leather base right here. So without wasting any more time, Let's go in. It seems you're still in edit mode on this leg. So I'll just hit. In fact, I want to apply this modifier because remember, I mentioned that these legs are not individual geometry. The geometry we have these, this leg, these are, the three are representation of geometry, but they are not actual geometry. The only way to make them geometry is to go to the modifier and apply. So now each leg becomes its own individual geometry. And you can see that by hitting edit. And now as you can see, we can edit each leg individually. But now there are still not individual objects because they are seen as one object. And that's why if we hit Tab and select any of them, it selects all of them because they are still one object. And the way to separate them is to hit tab. I'll select this. And now we've selected all of it, but if we rotate, you will notice we have not selected the backside that was not visible. And to overcome that, what we need to do is enable X-Ray mode here. This is X-Ray mode. And now if we select this mesh, we've selected all sides, every single part of that mesh, including the past that are in the back that we can see. And now I'll hit P on my keyboard, separate selection. So now that is separated. If I hit tab and select this, now we're able to select only that, but these three are not separated. So if I select this still one object. So going back in here, and because we're already in x-ray mode, I can select that. Hit P, separate the selection. Select that hit P separate selection. Now, if I hit Tab to go into object mode, each of these legs is now its own individual object. So now let's exit x-ray mode. A quick way to do that is Alt Z. To get back in is our Z, rather than going in here. Alright, so the next thing we need to do is now, let's create a cube, because we want to start creating this part. So control a mesh and remember to be in object mode. If you want to add new objects, don't add new objects while you're in edit mode because that will mean that new object is part of the current object you are editing. So make sure you're in object mode. Shift a to add a cube. Of course, let me drag it upwards with g, g, z. Let's switch the front orthographic view. And I want to hit S for scale. Then z to constrain it to the z-axis because we want to reduce the height. And that's this area right here. So g, to drag it z in the z-axis. Let's hold down Shift to move it in small increments. If you don't hold down Shift, you'll be moving into fat. And let me just drop it right there. Like that. And then I'll hit S Once again for scale. But I want to hit X to constrain it to the x-axis and drag all the way to that point. In fact, let me hit S Once again, x hold down, Shift Up to that point. Now rotating it to view it from this side S Once again. And this time we want to constrain it to the y-axis. So why hold down shift for small increments. And there we have it. So if I hit three, I think that's a good size. Hit one. Great size. Control S for save. Now while this is still selected, we want to apply the scale and all other transforms. Because notice of course we've changed this location because it grabbed and move it upwards. And we also change the scale on the different axis. So control a, apply old transforms. Now we're back to their original scale. Well, that is still selected. I also want to shade smooth associated auto smooth. The reason why we're shading auto smooth is this was the old way of shading smooth and it involves a few more steps. So if I hit Shade Smooth, first of all, it has this weird appearance. And I have to go in here inside the object data and then go inside normals and auto smooth. Switch that on. So what happens is let me undo all that. When we shade auto smooth, we don't have to go through all those steps because blender automatically checks this box for us. So watch this right-click, Shade, auto smooth, and it's done the job for us. So we don't have to see that weird shading and go in here to switch that on. There we go. Now, because we've applied all transforms and applied auto smooth, now we're ready to go to the next step, which is, first of all, let's switch to edit mode like that. And what I wanna do is create some loop cuts. So Control R and hover over any edges to determine where your loop cut will be. If you hover over this, loop, will move in that direction. If you hover over this, or this will be in that direction before you click, scroll upwards to increase the number of loop cards you can have as many as you want, but we need just two for now. Now you can click. And before you move, hit S on your keyboard for scale. And X to constrain it to the x-axis. And now we can push them out. Words like that. Let's say up to there. Then click, click again to release. And let me create another loop cut here, just one. So when that yellow line appears, I'll click, then drag it out to there. If I switch to the top with seven on the numpad. As you can see, it's not well balanced. So in fact, this is the right size. We pushed these outwards too much. So I want to select that and then out shift to select the entire loop. All round. Hold down shift to select this. And then Alt shift once again to select that loop as well. And now we can hit S x, push them inwards. And I think that's a good size. Now the next thing we need to do is switch to Face Selection Mode. Then I'll select this face, that face holding down, shift, that face, that face and that face. And with those selected, I'll hit E for extrude. E extrude, and then z to constrain it to the z-axis, all down sheets. So pull it upwards because we don't have the actual measurements of this backrest and arm rest. We're just going to wing it. Because remember, it's not shown here how tall it is, so we're just going to wing that. But I think it looks presentable now. At least we have that base, that leather bass. In the next lesson, let's continue refining it and giving it these rounded corners before we go on to create these cushions. So I'll see you in the next lesson. 8. The Leather Base - Part 2: Welcome back. So this is where we reached before we move on to give this arm rest and back rest, some rounded corners, we need to separate this area from the rest of the leather bass. So I want to select this face and this face. And he'd be separate the selection. And now that's its own object. If I hit Tab. Now that's a separate object from this. I want to select these and hide it by pressing H on the keyboard. Now that's hidden. So now let's select this and hit tab to switch to edit mode. Let me switch to edge mode. Select this edge, this edge, and that edge, and I want to extrude them. So E on the keyboard and z to make sure they're constrained to the z-axis. Now I want to hold down Shift and pull them out to maybe that point. They don't necessarily need to touch the line up to that point. So hits tab to switch to object mode. And if I hit Alt H, I will unhide the other part that we had hidden. Now we have that nice connection right there. And the reason we did the extrusion on this, if I undo what you just did very quickly. If I undo that and then switch back to object mode than out H to unhide that. I want to select this switch to edit mode, select this edge Control B to bevel it. And now that it's babble, let me add some few lines with my mouse wheel. You can add as many as you want. So let me just make them eight. Now, if I zoom in on this, you will see that we have this space right here because this is now beveled. And when it was not beveled, it was covering that space, but now it's leveled. We have that use less space right there. That's the reason why we needed to extrude this. So if I switch back to object mode, select this. First of all, let me select this and hide it. If I select this Edit mode and now extrude this, because these edges are already selected. Extrude in the z-axis. Put it almost at the bottom. Switch back to object mode, alt H to unhide that other part. Now at least we don't have that space. So that's the reason why we did that payable. I mean, the reason I'm explaining I need to explain some of these tiny details because that's what makes a difference between just following along and actually understanding why you're doing anything. So with that out of the way, let's select this. And now what we wanna do is have these rounded corners on this area. So with that selected, I'm going to hit tab to switch to edit mode. And I'll select this. And this control be like that. I mean, it's not that bevels, so Control V and I think it's something like that. I also want to select this edge, hold down control. When you hold down control after selecting an edge or a face or a vertex. And select another edge along that line. You select every other edge in-between, out to that edge you've selected last. So now we've selected those edges. And I want to go on and select. Now we're up to here. If I select hold down control and select this will select all the edges along here. We can continue all the way to the other end. Now we're here. So let me select that. So let me select that. So now we have all these outer edges selected. If I hold down, if I hit Control B. For bevel, we have that rounded corner right there. Select outside. That's a rounded corner. But we also need to have these rounded as well. Because I bet it's also a rounded here. So let's select this. Are we able to? So basically I've just selected this edge, hold down control. And that next let's switch to this other side. Let me zoom out. Hold down shift to select this. And I'll hold down Control to select everything else there. And then Control B, hold down shift. And there we have that. So now if I press Tab to get out of that mode, I like where we were at and don't worry about this weird shading here, we're going to sort that out. Let's also Babel, the lower part. So let me select that edge. Hold down Control, hold down, control, hold down, Control. Hold down control. Then let's bevel it. Holding down shift. We have a small problem right below the part that we separated, the other part that we separated. And that's because it's not selected the edges in there. So let me hit Escape. Then to isolate this entire part that we're editing on the numpad on the right side of my keyboard, I'll hit slash, forward slash. And now that's the only thing visible, the others are hidden. So the reason we had that small artifact right there was because this edge was not selected. Hold down Shift, select that. Now if we come here and hit Control B, right, it still has that problem. Okay? Alright, so what I can do is select this face. So let me switch to Face Selection Mode and separated also. Know that it's separated. If I select this edge, let me switch to edge mode. Select this edge the same way we had done a little bit earlier. You find now Beverly shouldn't have those problems. Just like that. Now the only problem here is this inner edge we had extruded. So let me just select this edge all the way to the other side like that. And then G For Grab Z to move it upwards. Now leave it somewhere there. So now if we switch to object mode with tab, It's all rounded. On all sides. Don't worry, we'll take care of all the weird shading on the sulfur as time goes. Alright, So on your numpad, hit forward slash once again to bring up everything. And there we have the cout so far. I want to select this. If we zoom in on this, I want to sort out this problem right here. 9. Removing Geomentry Artifacts: So if I switch to edit mode while this is selected, select, go to Face Selection Mode. Select this, get rid of it. Delete that face. Now we're left with this blank space. And the reason we have that artifact was because this concentration of these vertices here is creating that crease. So what I wanna do is zoom in on this corner right here where we did the bevel. And I want to switch to Vertex Selection Mode. I want to leave only one vertex or one vertice right here, and then create a face. So I'll select this vertex, this one, this one, and this one. Let me see. Here we have four as well. The number doesn't really matter. Just select all the vertices and then the one in the middle of all the others you selected, selected as the last one, and then hit the letter M on your keyboard. That will bring up the context menu. And you want to merge two, the last, That's why we selected the middle one as the last selection. Now, all those other vertices will march on the last one. Now we have this phase. If I switch to edge selection mode, select this line and then Shift Alt. We've selected all those edges. Now if I hit F, We've created a face. If I switch to object mode, now we don't have that artifact or that weird face. We can do the same on this side, although it's not showing. Let's just do the same. So selecting this switch back to Edit Mode, let this face, delete the face. Let me zoom in on this switch to Vertex Selection Mode. And just in case you're wondering what I've pressed, I'm pressing the numbers 12.3 right below the escape key on my keyboard, 12.31 changes to vertex mode, to edge mode, three to face mode. So one, let me select that, that, that, that, and then this, this, this, this, then the very last one like that. And then M on the keyboard. Merge them at the very last switch to edge mode. Select this hold down Alt Shift. And now you selected that, then F to fill up that space with a face switch to object mode. And now our seat looks awesome. We're getting somewhere. So one more thing we need to do is also give it that rounded corner inside. We'll see what to do about that. But for now, our seat is coming along just fine. It doesn't have any artifacts or weird shading. So that's it for this lesson. In the next lesson, let's start creating the cushions. So I'll see you shortly. 10. Modeling a Cushion: Now it's time to create the cushions. And of course, as you might already have guessed, we're going to create one cushion and then duplicate it and make those other duplicates unique. So let's work on one cushion. So in here, of course, the first step is to add a cube. So shift a cube. There we go. While it's still selected, G For Grab, then z to push it upwards. Let me switch to the front side with one on my numpad, G to push it leftwards. Just like that. Let me put it right there. Then S for scale, z, for the z-axis. And that's about right G to put it somewhere there. And before we end, before we continue to work on it, I want to duplicate it to have an approximate size. So Shift D, then x to constrain it to x. Shift D Once again, then X to constrain it to the x-axis. We're just blocking them out to have an approximate size to work with g x. And of course, let me press 32 more, Two switch to the side S Then why? Let's increase the size in the y-axis. But don't forget this one is eating into the back, so we need to push it forward. G. Then why to constrain it to the y hold down shift. And the moment it touches the back, now we know where it's reaching. So let me push it forward. We have some space here, so S, y hold down sheep for small increments. I think they are too big. So let's make them slightly shorter. Sy that space, I'll just hit G to grab it. Hold down, Shift to drag it backwards until it touches the back. I think that's a good size. So now let me select this. Delete, delete, and let's be left with this. Saved out Control S. As always, control a, apply all transforms that we had applied. These transforms control a whole transforms. Now it's set. Then shade auto smooth. So let's isolate it with the numpad slash like that. And now what I wanna do is switch to edit mode. So tab and hit H to make sure everything is selected. Then Control V to babble. And I want to pull it up to somewhere there. I think that's a good size. And of course, as you can see, I have eight segments. You can increase the number of segments as much as you want, but I just want to maintain them at eight. So just like that, save that. Now what I want to do is switch to face mode because we want to create this crease right here, these creases on the top and bottom. So I want to switch to Face Selection Mode with three right below the escape key. And now the next thing I want to do is switch to edge selection mode. And I want to select this line right here. When you look at the corner right here, you will notice we have this very slanted corner right here does not work. We want, we want this one that's less slanted. So I'll select that edge, then hold down shift to select the entire line. Then I'll go down here and do the same. This is not the one we want. We want this one. So I'll hold down shift and then hold down Shift Alt. Select that line as well. Now we have both of them selected. And what I want to do is hit S for scale. Now, I'll scale outwards like that. For now, I'll just drag it up somewhere there and then Control B to babble it. Just like that. So now before we do anything else, if I hit tab, at least you see now we have something similar to this, but we can refine it. So let's see how to do that in the next lesson. I'll see you shortly. 11. Refining the Cushions: So here we are. We're continuing with the cushion. So selecting it and going in edit mode, I want to zoom in on this part. You'll notice here, of course, every cushion has these indents right here, as you can see. So let's create that indent to switch to edge selection mode. Number two or just click this control are, I want to create a loop cut right here. And let me make it bigger. Let me bring it closer to this. Just like that. Let's turn over to the other side. Control are once again, create that loop cut, hold down, Shift to move in small increments. Just like that. Now, with this created, I'll change to Face Selection Mode. So three, and I'll select that face right there. Inside the loop cup we've just created. Hold down control and now start selecting all round because the reason I'm not holding down Alt and Shift select is because that will select the faces in the shortest distance. That's what happens when you hold down Alt and sheep. He looks for the shortest distance between phases or vertices or edges on a single line. So I'll select that. Now, just select all round. Then I'll just select that line all around. That line of faces holding down Control. Rotate that, zoom out. I think we're almost done. Alright, so that's selected. I'll rotate to select the lower side as well. So hold down, Shift, select that. And then now hold down Control. Select that line to continue selecting more faces in that line. Just like that. Just like that. And there we go. So now with the both sides selected, what I want to do is hit S for scale and z to constraint to the z-axis. That means, you know, scaling it in the z-axis. Just like that. Then of course, on this other side, it's moved upwards. Now, as you can see, we have that nice sort of seem in there. And that's, that's what we were aiming for. You will notice we have these corners that look indented a little bit. I wouldn't really worry a lot about that because we're still going to have some sort of creases, as you can see on the edges. We have these natural looking creases because no material, even leather has straight edges like these. So we're going to have these bumps, if I can call them that these bumps. And these are going to get lost as we add more bumps because they're already looked like bumps. And that's something we'll be aiming for. So with that, let me hit save control S for save. Now you will notice that these cushions seem to be a little more filled up there, more sloppy on the edges. And that's something we can achieve. But of course it's something that will take some time and effort. And one way we can achieve that is by going into edit mode. And let me first of all sub-divide this. So Control R to create a loop cut. And now I will scroll upwards to create more loop cuts. And our goal is to have looked cards that are almost the same size as these ones that we already have on these corners. So as you can see, they're almost the same size now, Control R on this edge. To create this something similar, I think that's good enough. No, that's not enough because this is rectangular. We want something almost squared. So let me undo that. We want to have as close to a square as possible. Then let's also create loop cuts right here. Nope, let me escape and undo that. Yeah, so now clicking outside, we have squares and the squares will come in handy when we're creating these bumps, these natural creases. Because we'll be doing that using sculpt Sculpt Mode tools. So that's for a later lesson. But right now, it's good that we have this. Now. I just want to show you quickly how we can increase the sloppiness on this. So if no, why we're still in edit mode? E.g. I. Select switch to Face Selection Mode. If I select that face and switch on proportional editing. But let me just switch it on. This option affects how much of your mesh is going to be affected by whatever you're trying to do. So if e.g. I. Select the center of this phase, the center of this mesh. Well, this is active. If I hit G. If I hit G, I can grab all of it. But if I scroll upwards on my mouse wheel, I can determine just this area within the circle to be affected by whatever I'm trying to do, which is, I've grabbed it. So if I wanted to pull it upwards, if I scroll downwards on my mouse wheel, that will mean the area. Or the area that will be affected is much larger. And if I push upwards, it means that area that will be affected by the Grab is smaller. So now pulling this upwards like that and then scrolling downwards on my mouse wheel. We'll add a bump to my cushion. And all I need to do is continue doing the same. Select that while this is still on G. And I can pull it upwards like that. Scroll forward to just affects small part or a small area. Select this GI, bleed upwards like that. Select these G. And I'll just go on and do that very quickly. So for now, that's what it looks like. Let me hit Control S to save that. And now our cushion is ready to be duplicated. Now, of course now, it looks a little bit more natural than just having a super straight surface, which is not the case in the real-world. A leather chair can not be that super straight. 12. Create More Cushions: Alright, so now on my keyboard numpad, I will hit slash to reveal the rest of the models. And then now, while this is still selected, I'll hit Shift D to duplicate then x two constraint to the x-axis. Let me hit number one on the numpad, switch to the front. Hit Shift D Once again and x to constrain that. And now we have three quotients. Then I'll hold down, shift and select the other tool. Now we can grab the three of them escape. So what I want to do is Shift D to duplicate them once again, then escape to drop them there. Then I'll hit G to push them up, then z, push them up vertically. I'll make them shorter. S for scale. Why? For the y-axis. Now push them inwards like that. Then of course, as you can see, the origins are outside the geometry and we want them inside the geometry. So object set origin to geometry. And now here they are. So now we can rotate in the x axis, R for rotate x, the x-axis, the front side, g, z, push them downwards. They are still tall. So scale S. Why twice? Right now you might be thinking, why aren't we constraining them to the z-axis? And that's because remember we've just rotated them. They were horizontal just like these original cushions. And to decrease the size from here to here, we were using y. So right now, although they are rotated, they are still using this y to re-size from this side to this side until we apply transforms. And that's because these what we call global and local orientation or axis. So if I hit S, Then why that's a global y? Then y again, that's the local Y. So I'll scale that downwards. One. And I think that's good enough, g, z and pull them downwards. Three to move to the side view. G to grab. Why to push them backwards. Just like that, we're almost touching the back, but not yet. So g y, after that point. And don't worry that these bumps look distorted and uniform. We're going to take care of all that. Right now what we want is just to arrange that cushions where they're supposed to be. So let me select that, duplicate it with Shift D. Drop it there, then G to grab it. Why to drag it in the y-axis? I want to draw it there, then R to rotate it in the z-axis. Like that. In fact, let me just say 90 degrees. 90. In case you didn't know what I just did remember I duplicated this, so let me just grab it and put it there. Then I'll hit R to rotate Z for the z-axis and then 94, 90 degrees. Alright, so now switching to the front end, I'll pick G to grab it, drag it out to their rotated slightly. And then S for scale, z for the axis, G to grab it. See, for the axis once again, let me zoom in a little bit. It's not touching yet, so g, x up to that point, and don't worry about this part. We're going to take care of that. Let me push it backwards. G, y. Just like that. Now of course, let me duplicate it. Shift D, escape to drop it there. Switch to front, front view, zooming. G x to drag it to the other side. And then I'll rotate with R. I just use my eyes to approximate the rotation. Zooming and I think it's well-positioned. Let me select this, this, this g, z hold down shift for small increments and let's place them on the very bottom. Now. There we go. So in fact, now the couch is actually coming to life and it's now starting to get more realistic. And as I mentioned, don't worry about these bumps looking uniform and distorted. We're going to take your oval that when we start using the sculpting mode tools. But now in the meantime, that's how to create the cushions. I hope you enjoyed this lesson, a long one, but at least we've finished that in the next lesson. Let's look at how to take care of all these bumps before we start working on the textures. So I'll see you shortly. 13. Texturing the Cushions: Welcome back. So now we reach a point where we can start texturing the different objects we have in our scene. That's the leather cushions, the backrest, the arm rest, and the wooden base. So let's begin with the cushions. Now we can do the shading right here in this layout workspace. All we need to do is switch to material preview or render preview. But the better way is to switch to Shading mode. That just brings up the tools we need to do, our texture or shading. So basically, of course, as you might already know, these different workspaces, our suited for different tasks. So now that we're doing shading, we don't need to be in the layout workspace. It's better to be the shading workspace. And as you can see, it's split up the screen into different editors that we might need wireless shading. So let me just zoom in on this. And at the moment we have this type of lighting. I'll go inside shading and change this to be living room. Interior shading like that. This is the one I prefer for indoor objects. Alright, so now with that selected, let me select this cushion. Fact. Let me zoom in. With this crucial selected. I'll say Add New. And that will bring up a principle, be SDF shader. And navigation in here is the same as in this viewport or in any other viewport. Then middle mouse. The middle mouse button or the mouse wheel is for panning around. Shift. A is for adding new stuff. So if I want to add an image texture, I'll hit Shift a, and then I'll go to texture, image texture, and drop it right there. Then I'll connect the color to the base color here. That will change to black. But what we want is to define, because this is an image texture, we need to tell blend of where to get the image, the image that will provide our texture. So I'll click open. And I have these fabric leather texture that I downloaded from poly haven. Here we are. We have the texture itself. We have a displacement which is almost the same as the normal. And then the roughness. You don't need to worry so much about the complicated naming here. Just know that the Diffuse, Diffuse goes into the base color. I'll double-click that. And now, because it's connected to the base color, these has changed to that level of texture. Now looking at it, you will notice the letter patterns look a little bit bigger than normal. So while this is selected, if I hit tab to switch to edit mode, then a to select everything. I can right-click this and go to unwrap faces, Smart UV project. Click that, and then click OK to commit the default settings here. When I click this, watch what happens to the cushion? The pattern has changed a little bit. And if I hit tab to get out of edit mode, the pattern is a little bit different. The patterns are slightly smaller than the original, and that's what we want. So now that this material is set N, of course, we have these other images we left in the texture. So if I add Shift a to add another image texture. If I drop it in there and say Open, going back in here, we have these others. What are these? The normal or the displacement image creates an illusion of bumps over texture. So let me just show you what I mean. If I double-click the normal. Now, that's what we have here. I need to connect the normal to this normal node here. But in-between we need to have a vector bump. So shift a vector bomb connected to normal. And the color here goes to the height. As you can see, there's an illusion of bumps on this material or this texture. And we can reduce that with this, without this normal connection of the texture. We wouldn't see these bumps. So it's all up to you. If you don't want your materials to have illusions of bumps, you don't need to add the normal. So if I so if I select that and delete it, now as you can see, it's smooth. It doesn't seem to have bumps, only flat dark spots. So I will leave it like that. Now that this is our material, I can name it leather texture. And now if I select this and go to this drop-down menu, I have the leather texture material here for me. If I select it. It's applied to any new object selected. And now of course, we need to do something about the size of this pattern as well. So while this is selected, hit tab a for all. And then right-click unwrap faces. Smart UV project. Okay. And now that's slightly changed. I'm going to repeat the same for all the cushions. So with that selected leather texture, that's reduced. Bees. There we go. Alright, so now we're done with the cushion. Of course, we can do much more and we will do much more before we finished. But right now we've finished shading the cushions. In the next lesson, let's take a look at the rest of the parts of the couch. So I'll see you shortly. 14. Texturing the Couch: So now let's go ahead and work on this part. So going directly and selecting that, I also want to give it that leather texture just like that. But now you will notice it seems stretched. Let me go ahead and hit the numpad forward slash to isolate that. And now I live in isolated hit Tab. To go into edit mode a to select everything. Right-click on Ralph faces smart UV project. Okay, and now you've restructured the texture. Let me get slash ones again. I'll hit Tabs exit edit mode. And I'll select this. Repeat the same process while it's selected, give it that leather material or leather texture. Heats Tab to go into edit mode a to select everything, Right-click on RAB faces, smart UV project. Okay. So there we have it saved that. And if you want to change the direction of the pattern while this is selected, you can change these to UV editor. Uv editor. Zoom out. Can you, if you hit a to select everything, I'll hit R for rotate, then I'll give it 90 degrees. 90. Now it's rotated. And I think I like how it looks so far. So let me go ahead and save that. Next. Let's go ahead and work on the base, which is wooden texture. So let's see how to add the wooden texture. I'll see you shortly. 15. Texturing the Wooden Base: All right, so we've just added this leather texture to the arm and backrest. So I just want to hit Tab to exit from here, to exit from edit mode. And I want to select this would, this wooden board right here. And then isolate it with forward slash on my numpad. Isolated. And while it's still selected, what I wanna do is give it a different material. It seems I already have this principle, the SDF as the texture. But what I wanted to do is add another image texture, which ****, a texture, image texture. I'll connect that to the base color. Let me go into wooden planks. This is the texture I want to use for that base. So I'll select that. This is a diffusion. There we go. Let's see what it looks like when it has some roughness, a image texture. Or you can just go to ship a texture, image texture. Or you can just do select this and Shift D to duplicate it. Then I'll connect this to the roughness. And then go inside here to select rough, mess, the roughness image. Double-click that mapping. Let's see if we should add a vector bone right here. Not much difference, so I'll just select that and delete it. Alright, let me just get rid of that roughness. Let's see what it looks like with a bump node. So sheep, a texture, image texture. Back to the height. That to the normal open wooden planks. Let's reduce that. Yeah, I think it should be connected to the normal like that. And then normal right here. I think I like the way it looks. So let me unhide the rest. Of course with forward slash or my numpad. And that's how the base looks. And then give this name. Whoops, let me just give it the name. Now, if I select this and apply the wood texture to it, it has these nice wooden texture that has several layers on the leg, which I like. So I'll select this and give me the same material. I think it looks good. So now our couch is almost complete. But in a natural world, don't have cushions having the same exact repeated patterns. So we need to add some randomness to the different elements on the couch to give it that natural randomness of similar items. Because even right now if you look at your couch, cushions, although they might have the same colors, do not look identical, but these look identical and we need to work on making them a bit more random. So let's see how to improve these in the next lesson. I'll see you shortly. 16. Texturing Final Touches: Welcome back. So now we're almost done with the couch. We've done some texture me. But of course, remember, as I mentioned, feel free to experiment with other textures by going to poly haven. Poly haven textures. You can just type polyhedron and then go straight to probably haven. This is one of the best online resources for finding h DRIs and textures. So if you scroll downwards, you can just click textures, browse textures. And in here they are many from rocks to Briggs, to dirt. Whatever you want you will find in here. So all you need to do is type in the search box. And now it's brought leather materials in the first slot. If you type maybe club. You can see we have some denim fabric here, some other cool fabrics. Let's see. Metal. So of course, just go ahead and type whatever material you want to type. And once you find the one you like, e.g. let's say this one. Open it and then come here and select whatever resolution you want. I usually download to k, then hit download. And it will start downloading. And we just go to that folder. If I open it inside, you will find the same for images. How the diffusion or diffusion, the displacement map, the normal and the roughness. Alright, so now going back in here, I think I already like what we have. So what I want to do is switch back to the layout workspace. And this is what it looks like. Let me switch to material preview. With this, we can preview the deeper materials we've applied on our scene. And now what we want, of course, this leather color is different from what we have, but of course you get the gist of what we're trying to do. Now what I want to do is add some randomness on these different cushions here. So e.g. let me select this, then. Hit R for rotate y to constrain it to the y-axis. And then 180 degrees, rotate 180 degrees, but now it's slanted forward. So let me rotate it in the x axis. But I won't make it precisely as rotated as these. I wanted to select that rotated slightly. Select this rotated slightly. We're holding down Shift and the areas they're touching or not creased. So let's go ahead and add some creases. So while this is still say no, let me select this. And now I want to switch to sculpt mode. And now, if I hit tab, we'll go into edit mode for a second. Remember, we created these tiny squares on the mesh of this cushion and every other cushion. And this is where we're going to use this topology or these divisions, subdivisions in sculpt mode. When we have this tool now, scroll downwards and look for this globe tool. And now with a cloth activated, we can brush our cushion mesh to add some creases in different parts. So e.g. if I select that part, ever so slightly MH, you can increase or decrease the strength and radius of your tool here. Or by hitting F. When you hit F, You can drag out or ink to make it smaller or bigger, or to make it stronger or less strong. As you can see now it's much bigger. If I hit F and drag inwards like that. Now this section is slightly smaller. And now I can use that to add some creases to the side. Just making sure they look normal and natural. Nothing out of the ordinary. And guys remember, of course, this is the kind of work that takes time. You can't expect to have a perfect couch, perfect model without spending time working on it. So you need to give it time working it slowly until it gets to a 0.0 satisfaction. All right, so now if I switch back to object mode, I can select this other solution here, the sculpt mode. And our tool is still intact. So I'll just go ahead and do that for every other cushion on this scene, just to give it back those natural creases in different parts. Now fast forward this section because it's very repetitive and we're doing the same thing we've done on this cushion. Take a moment and work on yours. Add some creases and make it as natural looking as possible. Here we have it. So here's what I have currently. Of course, it's not perfect, but at least we're getting somewhere. And the most important thing for you to understand, at least point is how to use the Sculpt tools to add creases so that the surface is do not look unusually straight. And that's what we've just done. So I've also gone ahead and flip some of these cushions 180 degrees. So like originally, this side was facing forward and this was the backside. I just flipped it 180 degrees just to add more randomness to it because the backside had this crease here and the front side didn't. So with that, I think we're almost at the end of the class. Let me see. If I switch back to object mode, select this. You need to push it down slightly. So it's selected g, z for the z-axis. Let me put it there. Select this g z, rotate that. And g z. Push it down like that. I think now it's starting to look like an actual leather seat. I'll hit Control S to save. And then I'll switch back to the layout workspace. And this is what we have. And that's how to add textures to your model. In the next lesson, Let's see how to do composition. That is preparing the environment, the visual environment for rendering. So we'll add some light to the environment and a white backdrop like this before we go on to render our couch. So I'll see you shortly. 17. Composition: Now it's time to light up our scene. So going in here, what I wanna do is hit Shift a to add a plane. There we go. Hit S to scale it up. Just like that. Let me zoom out. Once again. I want to grab, I want to grab it so G and move it in the y-axis up to that point. Next, while this is still selected, I'll hit tab to switch to edit mode. Select this edge. Then each extrude Z for the z-axis. Up to that point. Select this edge once again, Control B to bevel. When it gets to that point, I'll increase the number of cuts to make it a smooth slope. Something of that sort. Hit Tab to exit from edit mode. And I want to switch to render preview. Because now we're adding our lights. We want to see how we would look when we render it. So becomes dark because we don't have light. I'll hit Shift a to add light. Let me add area light. Here it is. While it's still selected g, z to constrain it to the z-axis. I'll put it up there S to scale it up. And while it's still selected under the object data, we have settings for the lights. I want to make this maybe let's say 200 watts bright. That's okay. While it's still selected. Once again, let me go to the front side. While it's selected, Shift D to duplicate it. And I'll drop this one here. Then are to rotate it in that direction. Select this shift D Once again. Now put that here, rotated. So now we have those three lights. Shift a to add yet another light, and I want to add a point light hits here below the seats, So G to grab it. And I want to put it behind the scenes. So switch to side mode, switching side view, and grab it and put it behind the seat like that. And now it's Shift D to duplicate it and put this in the front. Like that. Now we have five lights. I want to add a camera. So sheep, a camera. Camera, he's now here by default. So G to grab it, Z to pull it upwards. G, once again, why to constraint to the y-axis. And now I want to view it from the top. So I'll hit numpad seven. I want to rotate this so our art to that point. Now to view through the camera, I'm going to hit numpad zero. Like that. Basically what we're trying to do is composition. We're trying to set up our environment to prepare it for rendering. 18. Lighting the Scene: And while the camera is still selected, let me just make sure I selected. And you can see right here, while the camera is still selected, I'll go inside view on the N menu. First of all, let me zoom in slightly. Up to that point. I wanna make sure that camera is in full view. In fact, let me get rid of these for now because we don't need it. Just like that. Now what I wanna do is lock camera to view. And what that does is it allows us to navigate our scene while viewing it through the camera. So if this is unlocked, if I zoom in or out, I will zoom in on everything including the camera. But if this is locked, I can zoom in and out through the camera itself. And that will enable us to arrange everything precisely as we want to. We can rotate, we can pan while looking at it through the camera. Let me position this right there. Then let me select this background. Hit R for rotate, then z to constrain it to the z-axis. I want to rotate it in the z-axis like that. And I think that's a good spot. So let me hit Control S. We can now uncheck this. Now, what I wanna do is select this light and increase its intensity to something like 600. Let's say 400, 400. Let me select the, let me, first of all collapse this menu by hitting M. Let me select this light. 400. Me also select this other one. Maybe 300. So let these spotlights, this point light. Let's keep it maybe 200 like that. And then this real, then be satellite behind the scene. 100 numpad zero to switch back to camera view. Let me just make sure we're locked to view like that. I think these lights are too bright, so let me reduce that to 300 or maybe the original 200, 200. And you will notice this plane or backdrop has these, these lines over here and that's because you've not changed and it's smooth. So I'll select it. Control a to apply all transforms. Then order Shade Smooth, and that will Shade Smooth like that. Now, I want to select this base because it looks a little too bright. And as you can see, we have some ugly-looking creases here, but that should not worry you because I think this light is still too bright. Once again, let me select this light. 200. Yeah, I think that's the right spot. And we should also be 200, 200. Alright, so now let's also make sure that the plane, alright, yeah, The city is not floating in the air. So grab this, drag it downwards. Just trying to find the sweet spot. Grab it y in the y, and then rotate it in the z. From the top. Select this g, y, R to rotate it like that. Alright, so now let me uncheck this box. So what we want to do now that we have all our lives, our backdrop, and our camera. We want to be able to rotate around the couch while maintaining the lighting setup. So what we want to do is add shift. We need to add an empty, and I'll go ahead and select a sphere. There's the Mt. Once you select all the lights, the backdrop in the camera, and then parent them to the empty. So if I select this light and this light, all the lights, and then the backdrop and the camera. And then select the empty as the last item while holding down Shift. Hit Control P. That will bring up the context menu for parenting. And we want to parent everything to the objects that we selected last and that's the empty. So now, if I select the Mt, rotated in the z-axis, everything will rotate together with it. So if we're looking at everything through the cameras, so let me hit numpad zero. Let me zoom in. If we rotate and constrain it to the c-axis, will be moving around the seat while maintaining the lighting setup we created. And I've just noticed something. This edge right here is very hard. We forgot to make it slightly rounded. So while this is selected, I'll hit Edit tab to edit mode. Then I'll select that. That hold down control. In fact, let me hit a to select all of it. Then numpad forward slash, switch to this. And then I want to select this edge. Select that. And then I'll hit Control B. For bevel. My pink that's rounded enough. Yeah, right now is slightly rounded. Alright, so let me hit Control S. Let's save that. And now that the scene is well lit, we have a backdrop and a camera. We can render out a sample and see how it looks. So let's talk about rendering in the next lesson. I'll see you shortly. 19. 19 Rendering the Model: So now that we have everything set up and ready for rendering. First of all, let's go inside the random properties and make sure we select the right render engine we want to use. I like using cycles, so I'll select cycles. Cycles is much more realistic and I want to use my GPU to compute. And basically that's all. The next thing I want to select maybe is, let's go inside the output properties. This is where we can choose which type of image format we want to export in. I want to do P and G. And I will leave it exactly the way it is. No need to make any changes here, but I can also select where I want to render it to. So let me go to the leather couch. Accept. And now we're going to render to that specific location in my machine. So with that done, I'll go inside Render. Render Image. Blender is doing its magic. So here we are. This is what I've been able to render so far, but as you can see, it's still rendering. That means this texture is quite complex. That's what's causing it to render so slowly. But of course, just give it some time to finish rendering. Now there's one thing I've noticed as well. Right here on this edge, we also got to make it rounded like here. So I want to go back in here and select this. Let's isolate it. I'll hit Tab to go into edit mode. Then I'll select this edge Control B. Right now. He doesn't have an edge to bevel two. So first of all, heat E to extrude than y because we're heading in the y-direction up to maybe somewhere in there, then select this edge Control V up to that point. Alright, so now if we unhide everything and zoom in on it, let me just go inside here. Under Render properties, the noise. Let's remove those particles. I can see the bevel is not yet aligned with this. So going back, so I'll just undo the bevel Control Z now until we are left with just one edge. Control V once again. Now I think it's beveled enough. The noise that tab to switch to object mode. Select this white plane appearing from the bottom and delete that. All right, so there we go. Control S to save. Now let me select the empty and rotate it in busy. Maybe like that. Save that. And then we can render these ones again. Rendered image. Now, of course has mentioned this is so this is what has been rendered so far. So here we go. And basically that's how to render your 3D models. Depending on the type of textures you add it, the model. It might take some time. Someone take long, something will take a few seconds. Just continue playing around with the lighting. Change the values of the different lights we have in the scene to balance them out. So select a light than going here. Maybe let's make this 80 watts. Reduce the lighting just a little bit. By playing around with the lighting, you'll be able to create a more realistic set up before you render it. So another thing we can do is let me select this and go inside the materials. In fact, let me switch to shading. Now. Of course, now with that selected, wait, let me press Slash to bring up everything. Now with these cushions elected, of course the material is leather. I want to come in here and increase the roughness just a little bit. Let me switch to that mode. I want to make it less shiny because it looks, the less rough it is. The more shiny it is, the more reflective it is. So I want it to be less shiny. So maybe somewhere there. And now I'm satisfied with that surface. I didn't want it to be too reflective of the light. So yeah, go ahead and continue playing around with the lighting. Increase. Some of the values, reduce some of the values. Move the lights to different locations in the scene and see which combination works best for your render. So I'm just gonna go ahead and switch back to Layout. Switch back to rendered mode. Zero on the numpad to view through the camera. And for the n menu. And I just want to go inside view and lock these ones again so I can orbits around the camera. I think I'm ready to render this and see the results. We have an I just go ahead and do a few more renders and share them as we conclude this lesson. So I'll see you in the next lesson. 20. Final Thoughts: That wraps up our awesome class on modelling a realistic leather couch in Blender. I sincerely hope you had a fantastic time and experience learning throughout the class. But guess what? This is just the beginning. I have more exciting blender modelling classes in the pipeline. So stay tuned for upcoming classes where we'll explore even more fascinating aspects or 3D modelling. And to get notified when I publish a new class, simply go to my profile and follow me. Make sure you follow me. But that's not all. In addition to blend a modelling, I also offer classes in Elementor web design. So if you're interested in mastering the art of designing standing websites using Elementor, I encourage you to visit my profile and explore the range of classes available to you. You'll find a wealth of knowledge and practical guidance to elevate your web design skills to the next level. Remember, learning is a lifelong journey, and I'm here to support you every step of the way. If you found this class valuable and it helped to enhance your blender modelling skills, please take a moment to leave a review. Your review will not only assist other prospective students in understanding what to expect when they enroll in this class. But it will also motivate me to keep producing more engaging and informative courses like this one. So share your thoughts, suggestions, and experiences by clicking the reviews tab under this video player. And it will take you less than a minute to get it done. Thank you once again for being part of this class. Keep honing your skills and I look forward to seeing you in the next class until next time. My name is Ken. Peace. Be creating.