Transcripts
1. Cloth Physics simulations in blender: Welcome to the cloth
physics in Blender class. This class is for anyone that wants to learn how to create cloth simulations and
realistic craft models in Blender 3 and above. In the first lessons, we will go over the settings in the cloth physics modifier because texts can
be quite boring. I also provided official representations
of most settings. Fifth, this information
we jump into our first exercise in
which we create a blanket. After this exercise, you
will learn more about the general cloth
workflow and how to create realistic
craft materials. You will also learn how to make cloth interact
with force fields. This way, we can
create a flag which interacts with a
wind force-field. Growth can even be
animated with Shape Keys. This makes the creation of realistic curtains so much easier than at once used to be. The cloth simulation
is a modifier, which means that we can also put a particle system on top
of the cloth simulation. We have this, we can create
a nice soft fluffy towel. But cloth is not only
for flat 2D models. We can also use pressure
and internal springs to create 3D cloth models like
pillows and much more. There are special
brushes to make your treaty cloth models
even more realistic. As last, I will also
showcase how to create clothing with
the cloth physics. I hope you are as
excited as I am. So let's jump into
the first lesson.
2. Cloth Physics Introduction: Welcome to the first
video in this class. In this video, I will explain to you how the cloth physics works and are also visually showcase the differences in the
cloth physics settings. As you can see, changing a
few settings in a cloth face expandable can create
Feste different results. But how does blend that
calculate the Croft Physics? And why do we even
need to notice? Well, let's take a quick
look at this image. Internally, cloth
physics assimilated with virtual springs that connect
the vertices of a mesh. There are four types
of springs that control how the cloth
bands we need to notice because we can
modify the springs while changing the properties
of the physics step. Here you can see that
tension, compression, shear, and bending are settings
that regularly reoccur. These are the four springs
showcased in this image. Dark blue are tension springs. These control the
stiffness of the cloth. Rats are compression springs. They control the amount of force required to collapse
or compressed cloth. Light blue or cyan
artist springs that also control the
amount of force to collapse or compressed across Bots does this in an
angular deformation. As last we have green, the angular bending springs. They control how resilient the cloth is to
folding or crumpling. Now that you know how to claw
physics works internally, we can take a deeper look into the cloth physics modifier.
3. Cloth modifier in depth: As you can see,
there are loads of settings inside this
graph modifier. But let's start with
the cloth presets. In Blender there
are five presets, cotton, denim, ladder,
robber, and silk. These presets are a great way to pick a starting
point of your cloth. In most cases, you will
only need a preset and do not need to play around with
too many of these settings. But because I do want you to
have the freedom to change any option and create any
kind of graph there is. I would like to go over to
settings in this video. Let's start from the top. Quality steps. Set the number of
simulation steps per frame. Higher values result
in better quality, but will be slower, as you can see in this preview, lower or too low quality steps also create problems
with collisions. Speed multiplier. With the speed multiplier, you adjust how fast time progresses in the
cloth simulation, this could be helpful for slow motion animations or
examining your animation. Underneath physical properties,
we have two settings. The vertex mass, which is the
mass of the craft material. This just means the weights
or how heavy the growth is. And we have air viscosity. Air has some thickness to it, which slows following
things down. With this setting, we
could similarly to cloth in an outer space
or even on the water. And we can also
see bending model. This automatically is set at
angular because this is how the newer versions of Blender calculate the cloth simulations. I would suggest keeping it at
angular, the NIF stiffness, we can see the four
settings which directly impact the
four virtual springs, which we talked about. Tension, compression,
shear and bending. Tension directs how much the
material resist stretching. Here we have two
pieces of cloth. They are almost identical. Just attention is different. This one has a tension of 500 and this one has
attention of one. From the top. They look quite the same. But if we start playing, you can see that this one with a lower value has less
tension resistance, so it expands more. So if the value of tension, you can decide how much you
want your cloth to expand. And compression is how much the material resists
compression. Here we have two identical
pieces of cloth. I'm looking from the top. And the only difference
that is here is that the compression
at the stop cloth is five hundredths
and here it is 0. If we play this, you can see a clear difference
between these two. There is way more deformation happening in this bottom one, which has a compression
resistance of 0. So lower amounts of compression makes your
cloth able to shrink. What is tension and compression. Let's take a look at this image. When an object bends, it is under compression and
tension at the same time. The top of the beam
is under compression, while the bottom of the
beam is under tension. So tension is the force which attempt to elongate an object. And compression is a force which attempts to shorten an object. The shear is how much the
material resists shearing. Let's look at shearing. So if I play this, you can see that there is a obvious difference between
the top and a bottom plane. These cloths are different
because of the shearing. In this top one we have a
resistance against shearing, and this gives us a diagonal
resistance lines here. If you don't have any
resistance to sharing, you get this smooth cloth. These diagonal resistance
lines are especially noticeable once you also have your attention and
your compression low. At last, we have bending. Bending controls the
wrinkle coefficient. Higher numbers
create larger folds. If we look at 300, you can see that the value
is a little bit too high. The cloth starts to act
a little bit weird. But we can also see
that the wrinkles themselves are
actually nice and big. If you put the value a bit down, you will see that we get rid of that weird
cloth movements, but still have those
nice big folds. These are all the settings
inside the stiffness section. We also have a damping section. And you can see that these
are exactly the same as in the stiffness bought off. These values will dampen
the cloth behavior. Tension is the amount of
damping in stretching behavior. Compression is the amount of damping in a
compression behavior. Shear is the amount of
damping in shearing behavior. And bending is the amount of
damping in bending behavior. And to be honest, I barely see a difference in
all of these except bending. Bending doesn't seem to have a little bit of a difference
in these previews. Now. These next two sections here, I will explain them
in an upcoming video. This is because these are
often used for more 3D models. And our first want
us to just dive into more 2D models like
a cloth or a flag. And then we can always
dive into these here. So let's talk about cash. And what can we do with
this whole cache section? With the cache, you can save
your simulation physics. Right now. You might have
already seen that if you play your animation, it needs to calculate. And it will leave this dice
little blue line behind. This essentially is
already calculated about if you do it in a
just with this timeline, you can see that if you go back and forth and back and forth, you get a very quite
weird results sometimes. That is because nothing
is really saved. Every time it starts to
replay from the start. With the bake, you can
essentially save this. So let's start from
the top right here. We can write whatever you
want the sketch name to be because she could even have multiple cache files per model. Normally you don't do it, but it is a possibility. So let's say this is
collision sphere. In this correlation is fair. We can choose a simulation
starts and ends. So normally this is set at 250. So if I bake this, you will see that simulation starts at one and ends at 250. And now wherever I click, you don't see anything going wrong because this
essentially is all saved. S You can also see,
but it's blue line. We can delete bake if you're
not that happy with it, and change, for instance, the end or whatever options
you want to change. Now if you bake it, you can see because we put
the ends at 150 frames, our simulation stops at 150. But what do all these
other options mean? Let me delete the bake
and explain them. So calculate the frame, essentially just
calculates until the frame that you
have selected. So if I wanted to only
calculate to frame 60, you go to frame 60
in the timeline. Click on Calculate the frame, and we will calculate
until frame 60. Now, you can see that
we have an end here. So if I do calculate
the frame until a 170, it will actually only go to
150 because there is our end. We also have current
cash to bake. I said before to you
guys that if you just play this around
without any bake, that a certain cache will
already be calculated. It only goes really wrong when you start to
play around in here, then we will get like
really problems. But if you already
calculated this, you can click on
current cash to bake. It doesn't really requiring
extra baking time. But you can see that
now these frames are essentially saved. These three options here, for just one single
a quantifier. So if I wanted to
bake all dynamics or delete all bakes or
update all to frame. These three last options
will essentially talk about all the
dynamics in your scene. If you have maybe craft, but you also have fire
or maybe even combined, it's like a burning cloth, then you click on bake. Our dynamics. In this case we don't have it, but normally when you
have more dynamics, it will of course, take
more time to bake them all. Now we also have
delete all bakes. So this will delete
all the dynamics. We have. Update all the frame. You can select the frame just
like calculate the frame. But now it's all
dynamics to that frame. And that's it. That is essentially
the cash modifier. We can talk a little bit
about the disk cache. We have the disk cache. You essentially
save your dynamics inside your blend file. Right now, if you click on
this and try to bake it, it will probably
give you an error because you first need to save your blend file before
you can use this cash. So keep that in mind. We've used library path
Blender creates a new folder, and in there your
cash will be saved. We also have compression. In some scenes, you use a lot of physics and physics caches
could be quite large. So you could compress some
data to save some space. But the heavier the
compression is, the more CPU it requires to compress or decompress
these cache files. I also talked about the
fact that you could have multiple caches for model. If we click on plus, you can essentially
change anything in here. Maybe I want to see the
difference in robber. You could click robber and maybe I also want a
different collisions. So now, right now
we have a sphere, but if I create a cube, make sure this has a collision. And then start playing
this or baking this. You can see that now this cloth starts to act
on this cube, right? So now we can do collision cube. And if I select the
collision sphere, we will see what happens
when we use this ferrite. So now even goes through
our other model. And if I select
Correlation cube, you can see what happens when
it collides with the cube. As you can see, you
can change a lot here and you can have
multiple caches. Next we arrive at shape. In shape we have pin group. With pin group, you can select certain vertices which you
can use for your pins. What does this mean?
Let's select one vertex, go inside the object
data properties and click on Plus
for vertex groups. This is going to
be our pin group. I always like to rename them to paint group so I can
find them later on. You need to assign this
vertex to this pin group. Now, in the spring group, only this vertex
is assigned to it. Let's go back to
our cloth modifier in the physics properties. Here we can select
that pin group, which we just created. If we now start playing, you can see that the
pin or the vertex at V pins stays in place. But you can also create a pin
group in a different way. So I've deleted the spin
group for right now, and I will just use
my weight paint. Once you grab a weight paint, you instantly see that a new
vertex group will be added. Now, if we go to our cloth properties and make sure I'll go back
here and object mouth. Then I can select this spin group and just
start playing as well. You can see that it instantly works just like a
normal ping group. The difference, however,
with this pen group, which is done with a
further explained, is that we can change
the stiffness. One, as you can see, it gives us this stiffness. If we put it to 0, we
have less stiffness. And we can of course
put it all the way up. And now everywhere
which we have painted will be a higher
stiffness at say, let's talk about suing. Suing does not have anything
to do with the pin group. So it is something separate. What we can do with suing
is quite interesting. Every edge in-between a
normal filled plane or model will be seen
as a little piece of yarn that will be used to sue these
two pieces together. So if I click on Play, you can see some clothing
there'll be created. I'm very quickly going to create a new model just so you
can see what is happening. If we just create little
dress or whatever, which will do you
will first start with a normal simple shape. Then move this width down. Then we of course need some extra edge
loops or otherwise, we don't have enough geometry
for our cloth modifier. And now we're going to extrude this extruder around the y-axis. In this case, wherever we have edges left
only the etches, those pieces will
collapse together. So first of all, we need a hole in here
because, you know, her body needs to fit
through so we can just delete these faces and
also on the bottom. But here we do want these edges, so you delete only the phases. These edges are still intact. Now if I select this model, go to cloth, scroll down, make sure my suing his own. Now this will pull all
the loose edges together. So you can see that we
create a little dress. These edges are
essentially suing springs. These are virtual
springs that pull the vertices on each side
of this edge together. We can put a maximum
chewing force, which is the maximum
force that can be applied by the springs. And 0 is unbounded. So now any force can be applied. You can, of course
put his higher. And you will see that there's less strength applied to some of these vertices or
nodes all the way. Both together. We have also a shrinking factor. And shrinking factor
is the factor by which the cloth shrinks. And if you have a
negative value, this controls the amount
of cloth to grow. You can see if you
use Dynamic Mesh, this allows you to animate the cloth with shape
keys are modifiers. Right now we have
arrived at correlations. The first setting inside the
collisions is the quality. The default quality
is set at two. For previews, this
is quite fine. But I often bump this up to
five because I don't want to risk my simulation to go through any of my
collision objects. Higher numbers, take more time, but the insure less tears
inside your fabric, but also less
penetration between the cloth and the
collision object. So object collisions
enable you to deflect this cloth
with another object. However, we need to
first add another model. So in this case the sphere, then ensure it has the
collision applied to it. Now, because our object
collision is ticked on, these models will start to
collide with each other. The distance is
automatically set at 0.015. This often is way too high. You can even put it at 0.001
or maybe a bit higher. But often this whole fixed
problems with this collision. We have impulse clamping, as we can see here. This fence explosions in tight and complicated
collision situations. Sometimes something is to tie together and collisions
don't really know what to do. And it starts to
explode out of charter, then you can put
this value higher. We have vertex groups. In this case, the
vertices that are in the group will be excluded from the collision with objects. And we have correlation
collection. Only objects that are part of this collection can
collide with a cloth. We also have self collision. If you play this, you can see that it starts
to collide with itself. Rather it goes
through each other. If you turn this on, however, and let's play this again, you will see that now the cloth
will collide with itself. This again, dust take extra
time when assimilating. We also have friction here. If the self correlation, we can put a coefficient for how slippery cloth is when
it collides with itself. For example, if you use silk, this will have a
lower coefficient. Then using cotton. The distance, this distance is the same as the distance in
object collisions. And often this one
is a bit too high, so you could also
put this one lower. Again, we have impulse
clamping this fence again, the explosions in tight and complicated
collision situations by restricting the amount of
movement after collision. Also for this, we
have a vertex group. So here you can
assign vertices to exclude it from self collision. You might think, okay, my self-creation has friction, but why doesn't the object
collision half that? Well it does, but you control this inside the
objects collision. Here you can see
every collision has also multiple options
that you can change. And we want to focus on
the soft body and cloth. So here we have
damping, thickness, outer thickness,
enter, and friction. These are all the
coalition settings. The next two steps are
quite unimportant. Smi, I'd say the
property weights allows you to set
maximum values. So if you want to constrain a certain crop properties or even in certain vertex groups, you could do that here. The field weights are
very handy if you want to maybe turn off the gravity
or turn off a certain force. Here you can influence all these external
force effectors. These are all the basics of
this whole growth modifier. Of course, in upcoming videos, I might go a little bit deeper into some of these options. And you will see certain
stuff that comes back over and over
and over again. But I hope you guys now get a basic understanding of
what everything does. And now you can also see
what you can all do if this, because it actually is a quite
advanced to in my opinion, you can do load shift this
and that is why I also created lots of exercises
for you to try. I hope you guys are
just as excited as I am and I'll see you guys
in the next videos.
4. Exercises explained: Welcome to this video. This class has
lots of exercises, and in the next video you will already started with
your first exercise. I have created multiple
files for you to download. These files you can
get her modals, files, textures,
and even HER eyes. I enforced the back
these files in zip files because Skillshare has a limited file size
that I can upload. I personally recommend
you unzip the files with a program like
7-Zip or wind power. Some textures and models will be re-used in multiple exercises. I would also like
to explain that a carefully put these
exercises in order. I would not recommend skipping any exercises or videos overall. If a file is not working or
missing, please let me know. I can update the
Download folders. As last, I would like to ask you to share your
render Swift me. This way I can give you
valuable feedback so you can grow as a 3D artist.
5. Exercise 1 Blanket: Welcome everyone to
the first exercise. In this video, we're
going to apply everything that you learned
in the last videos. So what are we going to create? Well, we are going to create a nice blanket that falls
on top of this couch. And we also go over a
little bit of the workflow that is needed to create
good-looking cloth. Of course, it will also
be a separate video which talks about
the workflow only. But right now, I just
wanted to create something. So let's create our blankets. With Shift a, we
could add a plane, and this plane is going
to be our blankets. So you can also rename
this to blanket. With our blankets. We first need to think about how we create spanked or what
this blanket will look like. Right now we need to think about the shape of the blankets. Most blankets
aren't just square. If you scale this a bit down, most blankets will be a
little bit like this. Just scale it down and
move the bit into place. Now, control a and apply the scale about them I want you to do now is
go inside edit mode. So click on top with tools
and blender, like the claw, physics or sculpting even we need to have quotes geometry, but the geometry should also be nice and square, so
even distributed. If I just simplify this, you can see that my
geometry is actually a little bit elongated
and rectangular. We don't want that. So Control R, you can
add extra edge loops. You can see that's a
nice little yellow line will be added. If I click this, you can see that I can
still move around. But if I wanted to be
perfectly in the middle, I just right-click and it
snaps back into the middle. Right now you can see that
we have two nice squares. And now I can start
to simplify this. So everything will
be nice and square. In some cases, you cannot
just add one edge loop. So you need to
create more, right? So if I scroll up or down, you can see that I create more or less of these edge loops. Let's say I do three
here and then two here. In my case, this
doesn't create nice, as nice squares as just one
edge loop in the middle, but it depends totally on
the shape of your blankets. So keep that in mind. You
can add more or less. I want you to have
all squared geometry. You can start to subdivide it. Let's say we stop the fight at the few times and end
up with this geometry. You might think, oh, I'm just going to add a
whole lot of geometry. This will create better results. That is still totally true. If you create more geometry. First of all, it
would take a lot for blender to actually
simulate the cloth, which is already a bad thing. You don't want to wait hours for a cloth simulation to be done. And then you might need
to change a little bit, so you need to delete the
begun and bake it again. That's just not
really handy bought, but also could be
deceiving is we need to look at the wrinkles of a
material that we are creating. Also in real life, a pillow for instance, depending on the material, will have a certain amount of wrinkles but also a
certain size of them. And if you just create
a lot of geometry, blender actually kinda looks at this model-like
a scale-up version. So if you just add
too much geometry, it will just think
that this blanket is the size of a football field. You have to keep that in mind. It's not always better to
just add more geometry. Once you have a decent
amount of geometry, we also need to UV unwrap it before we're actually going
through, simulate it. And it's very easy, especially with a
square like this. Just go to UV Editing. Click on eight, checked
everything that you and then unwrap in pillows, cushions, and some auto models. I've wouldn't advise
already UV unwrapping it. But in a lot of cases
it is better to do it beforehand because
after the fact, your model might have
deformed in such ways that the materials or the textures will just be warped and it
doesn't look good anymore. So that is why we do it before. Let's add some modifiers. The first one that we want to
add is the cloth modifier. And you can add it in
the modifiers section, or you can go to the
physics properties. And physical properties is probably the better way
because here you can see all the options
instantly if we play this. So let's grab a timeline out of here and then click on
space to play this. You can see that it will just
fall through everything. That is because our plane or our blankets is not
colliding with anything. We want it to class
if the couch, so select the couch and
click on collision. Now the blankets will
collide with the couch. That's split us again. And you can see that it
now collides nicely. Also, you can see
that I often click here and then pay the animation. That is because I just think it's fiddly to do around the 0. I'm not sure why, but sometimes
it just creates problems. If you start at frame three, for instance, by accident, then it acts sometimes differently than just playing it all the way from
the beginning. What do we want to do here? First of all, I do think this geometry is
not good enough. Even if I do Shade Smooth, you can see that there
are barely any wrinkles. It just doesn't really look like a nice cloth or blankets. So we can go to modifiers and add a sub deficient surface. I'm gonna put this
up deficient surface before the prof modifier
because I actually wanted to simulate
this extra geometry from the SAP deficient surface. The render and the levers
few port could be the same. If you want more geometry, you essentially just put the
left us viewport higher. Now you can see that
something weird happens here. That is because we added
all this extra geometry and we have to replay this. And this creates already way better looking
folds and wrinkles. I actually liked this. This case is also quite nice
because we can go higher or lower and don't really have to add extra geometry in here. The R2 problems here. First of all, we
have a big space in-between our blankets
and our couch. And you can see
that here we've got some artifacts that's because the blanket goes
through each other. It's not just colliding
with itself anymore. So both these are
collision problems. The first thing, let's
fix this on first is the huge space in-between
the couch and the blankets. If you select the couch, go into the physics properties. You can see that we have
underneath collision, the soft body and cloth
collision settings. We have damping, thickness
in a thickness and friction. So let's start with friction. If we play this, you can see that
It's slides around, across slides around our couch. If you put the friction higher, it can go all the way up to 80. Then you can see that the, it doesn't slide anymore. There's no friction. If you don't want it
to slide that March, you can maybe put
it to ten or aids. Little bit of signings. Okay, but too much could
be a bit annoying. Inner, this is mostly
used for soft bodies. Don't really think
about this to March. But thickness outer,
which doesn't really say, but if I scroll this out here, you can see that thickness outer Esquire importance because
thickness outer is essentially the
thickness that it keeps in-between these two pieces
that collide together. If we put this lower to 0.05, maybe you can see
that now it will fall a little bit
closer to each other. You don't want us to put this too low because then you can essentially see the couch
through the blankets. So that is not really
what you want. The problem is there are still a huge space in-between them. You can think like,
Oh, I'm gonna put this thickness even lower, but that is not gonna solve it. That is because
our cloth itself, if we scroll down, has also a collision section and 50 correlation
section right here, we are colliding with objects, has a certain distance. So if I put this,
this and slower to 0.05 and play this again, you will see that now they will fall even close to each other. Perfect, and that is
everything that we need. I don't want it to go even closer because I'm also going to create a bit of a
thicker fabric later on. Now, the quality steps could
be handy and it's always good to put it higher
if they're ever going through each other
or any problems like that, just put it higher than in this case, we
don't have it yet, but that could
always be the case. Now, this part here we've
already talked about it. It goes through each other,
so we wanted to self collides underneath
object collisions is also self collision. And if we play that, we can see another
problem coming off. Of course, it starts
to act quite easily, but kind of post itself
together instantly. And that is because the distance here and self collision
also has to be a bit lower. Just put it 0.005. This is not always the case. It depends on the
size of your models. It depends on sometimes it
works, sometimes it doesn't. It's weird, but if you
ever have this problem, just put the distance
a bit lower. Now if we play this,
you can see that we get a very nice result. And also our model is not
colliding with itself anymore. And it is closer to the
couch itself as well. Now that they have a
decent amount of geometry, if we have UV
unwrapped our cloth and we have no collision
problems anymore. We can start to
think a little bit about where we want to
position our cloth. What do we want
the scruff to do? And maybe some extra modifiers to make it look
even more realistic. So when we have this cloth, we can go to 0 here
and move them around. If you just put it quite flat, it will fall flat down both
we have self collision. So we can keep in mind that it can also collide with itself. In this way, you can create these cool rid of wrinkles when it falls
on top of each other. So if you'd like that, then you can always go
into cash and bake it. By the way, if you wanted
to bake your simulations, you have to keep
in mind that you probably do not need to bake
all the way to frame 250. In some cases you do, but in this case
we don't need to because I might
already like my bake around frame 100th
so I can put it to hundreds and then bake this. When it's done, you
can just play back and forth and choose a certain
frame which you like. If you don't like your results, you can always delete the bake, change whatever you
want to change, and then bake it again. Let's say I'm happy with
what we have right now. What we can do is add some more modifiers to create
a better looking model. In this case, I want to
add a solidify modifier. And a solidify modifier
that says it says it makes our model solids
because a blanket, It's just not a thin piece
of whatever it is is. We can just adjust the thickness and see
what do we want to have. It is quite hard to see how
thick we want this to be and the quality of the cloth
is not really there yet. I would like to add also
another subdivision surface. This soft efficient surface stays after eight
o'clock modifier, it just stop the FIS was ever the result is from these
two modifiers before it. And now we can still
play around with both the South deficient
surface the last time we can put it higher
if you want, lower. And we can still change the thickness inside
the solidify modifier. So this creates a very nice
realistic looking blankets. Once we've have this done, we can keep it at this or we
can apply a certain frame. Let's say, Oh, frame 90
is really what I want. Then first apply the first
self-sufficient surface, and then you're going to
apply the cloth modifier. Now you can see I
cannot move anymore, it's just in place and this
is the model for right now. Let's go to shading to create
some nice luca materials. If you go to Object, select your blanket,
click on new. We can also rename this
material two blankets. Here we can start to
edit this material. I already created
a nice material and I've just going
to use debts. And I will highly
at phi should go into preferences
underneath edit. Look for the Node
Wrangler add-on. Make sure this arm and Save Preferences then select
your principled shader. Click on Control Shift T, and then you can see that
it opens the browser. And now what you can do
is you can select all of these fabric textures
that I've given you. Select them all, and then
click on principle texture. Setup s, a little warning. Normally we do not. It needs all of these textures. There are lots of textures
per material and brown a kind of figures out which one is it needs once you
select all of them. But in an upcoming video, I will actually show
you which textures when needs and also explain
why we need them. So an upcoming video,
we'll actually explain the whole material process. But now because I want this first video to
just be quick and fun, I would just advise
you to select them all and follow through. And now you can see
that all of these are imported instantly
without any problems. If you go into the
rendered viewport shading clinical 0 just so we can see it from the perspective
of the camera. Here we can see a nice
couch and our blanket. In this case, the blankets. That actually is
way too big, right? So go inside the mapping
and put the scale up. So maybe 77. And here you can see that
we get a way better result. Essentially. Very, very cool. We get this nice
reflection zone here. And the only thing that
you might be able to change here inside the
principled shader is just put the xin even higher to create even more of
these nice reflections. All of this is added the ball. But yet that is
essentially how we create a nice and realistic
look at blankets. Now, if you click on F2, you can start to render this. You can still change
the lighting around. Also, some things might
already be changed. Maybe I changed the
lighting a little bit in the exercise blend file, just so it looks a bit better. So maybe it looks a
little bit different on your screen and mindless and of course your fabric or your blanket is laid
out a bit different. But I would hope to see
this random from you guys. And this was the first
exercise that we have created. I hope you guys learned from
this and will see you guys in the next video where we're
going to learn even more. See you guys there.
6. Cloth simulation workflow: Welcome to the cloth
physics workflow. As you can see, this chart
is a little bit old, but I took it from
blenders websites. I think it's a great
starting point. And there might be some things that need to
be changed a little bit, but in general, this
is totally fine. So start with one model, the cloth objects as a
general starting shape. So you always want to
think about what is this fabric or Croft
properly made out of? How did they got it in the
beginning to end up with a result like what FEC maybe
in your reference images. If you have just a
round tablecloth, you want to start
with a round shape. If you have a square one, you want to start
with a square one. Number two, you just have to designate to object as a
cloth in the physics step. Just select the model that
you want to simulate. Then go into the modifier or Physics tab and
click on cloth. In step three, we need
to make sure that we also have our
collision objects. So if you want your cloth
to collide or interact, if a certain model in your
scene, selected model, and make sure you go into the physics step and
click on coalition. In step four, we often create some decent
lighting for our scene. Also put the camera
in position and start to UV unwrap if necessary. Once the UV unwrapping
has been done, you can apply materials
and textures if needed. In step five, you can add
particles if you want to. Maybe you want the clock to have fire or even some
hairs on it, right? So we can create some
good-looking towels because those have all those little
hair or fabric strands. And we will also do that
later in this class. In step six, we're going
to run the simulation and adjust any settings to
obtain satisfactory results. The Timeline editor is
very important to this, and that is because you can keep replaying and check
your simulation. Step seven is quite optional, but sometimes you can already
h the mesh as they call it. What you can do is you
can run the simulation, then apply it and run
it again at this point. That this doesn't
really happen a lot, but sometimes she wants to have a different starting
shape than you buy. You start with. Also this cubic, quite handy, but
it's very specific. And now we are at eight, which is the last step. And in the last step, we can make minor edits to the mesh on a frame
by frame basis. Maybe you have some tears in it. This doesn't happen
a lot anymore. Back in a time when habit a bit more often you can resolve this already if you have good quality settings
from the get-go. We can often forget
about this part, but in some cases you might
need to do some minor edits. This is the workflow. As you can see, it
is quite general, but the general workflow
is always good to know. This is the workflow. And I see you guys
in the next video.
7. Create realistic fabric/cloth materials: In this video, I will
show you how to create realistic fabric materials
inside blend there. As you can see here, we have a decent
looking material. This is all because of
all of these textures. Where do I get this
textures from? I personally use the
upholstery generator. I have bought this generator
from polygons and calm. It is a 100 credits which
is around 30 bucks. And if you make a lot of
different kinds of fabrics, I would suggest you get it. But most of you are beginners and adjust
looking into this. And for you guys, I provided a lot of different
materials for you. And I will also show
you ways in which you can actually edit
these materials. From five or six materials. You can essentially
make hundreds of different kinds of materials. So don't be too upset that you
don't have this generator. So why do we use a generator? Well, let's say you make
a picture of a couch. The problem is, all of
these fabrics have threats, these threats running
through them. And it's very, very
hard or almost impossible to make
these threats seamless. Inside Photoshop, you'll have a picture and make it seamless. Also, getting this
kind of detail is also nearly impossible because you
need to be very close up. Make a picture, then try
to make it seamless, and then you get this
others of warping. That is why we use a generator. And now it doesn't
matter if I'm a skill one or at a skill. I don't know, 20 or
60 doesn't matter. We have no seams in here and
it will always look great. Let's just start with
this basic setup. The first thing we need is
of course an image texture. We can combine this with
the principled shader. The first thing that we're
going to add is a base color. So let's go to your material
and choose a base color. Also, here you can
see that there are loads of different textures, but I assure you that most
of them will not be needed. The other structures are essentially export it
from the generator. Bots. A lot of them are maybe for different programs or if you
want to use it in Unity. Here we only need like
four or five textures to actually create a
decent looky material. The first thing, as I
said, is the base color. This base color looks good. You can see that
even the base color is not just one flat color. It actually has some
of the threats here. You can see also that
this is a bit too big, so we need to have a texture coordinate note combined with a mapping note to actually scale this texture up, I'm
going to use the UV. Then the vector goes
into the vector. Here. We can scale this up. So maybe three times three. Very cool. Now, we can even do bigger
five-by-five or if six by six and everything will still work rate because
it is seamless. The next thing that we want
to use is a specular map. Use another image texture can put this in the
specular and we can open the specular
texture right here. Also, this one is combined
with this mapping note, make sure once you add any
of these grayscale maps or even the normal map that we
use, non-color color space. We have the color map,
however you want to use sRGB. The next thing we're going to
add is a roughness texture. So here we add our roughness. This of course goes
into the roughness. Roughness essentially
just specifies the roughness of the material. So it has to do with
the reflections. If it is at 0, you can see that this
very reflective. And the closer we go to one, the more rough it will be. Essentially. Most
fabrics are quite rough, let's say, and
don't give us that much of a mirror
like reflection. And as last, we want
to add a normal map. The normal map looks like this. And the normal map gifts
AS some height detail. It fakes it, but just
in a really good way. We can also combine
this with the mapping. Note, the normal map and the color here are
two different colors. So if you look at this
little dot and this dot, this one is yellow
and this is purple. Normally this is
not really good. So we're going to add another
node, normal map notes. Now this color gets
converted into purple and we'll actually
work as intended. Of course, we need to
go at the viewport rendered to really see the result that we
are getting here. I personally also put the
shin all the way up because the xin kind of gives
us these reflections. If we think about a cloth, it has all fairly
small little hairs and those hairs catch light. And that is essentially
what we see here. It makes it more realistic
when we add a shin. These are essentially
all the textures that we need to create a
decent looking material. This setup, as you can see, can take quite a while. There is a way faster and
quick way to do this. I can delete these here. What do we need to do? We need to go to Edit Preferences and makes
sure underneath add-ons, we have our Node
Wrangler add-on. Ticked on. We need this node
regular add-on, because if you select
a principled shader, pick a control shift and t, then go to the
fabric green stripes and select all the
textures that you need. So just the ones that we
have talked about before, we need the base color. I'm hauling control
by-the-way to select my next one's roughness,
normal, and specular. Now if these maps selected, you can click on the
principal texture setup. And here everything
is setup at once. The only thing we need to change here is of course the scale. And maybe you want to put the sheen on if it's
not on already. This, as you can see, is way quicker than adding
all of them by hand. Let me now show you some ways in which we can
edit our material. The first and obvious way
is changing the color. You can just do this with
a UN saturation node. Yeah, just play around
with these values. So if you want a different
hue, you can do it here. Saturation as well,
or even value. So this is just a very
quick and easy way to change the color
a little bit. You could also just
create your own colors. The problem is if you
have this base color, we already talked about the
fact that this base color itself already has some of
these threats inside here. It's not just one flat color. If we just use a
normal base color, which is, let's say blue, then we can see that
it does not look as realistic as a
base color map, which are already has some depth in it instead
of just a flat color. Weekend, however,
change something. So if we change this
base color hair to ambient occlusion map,
this ambient occlusion. It has wider and darker values. As you can see, we can combine these wider and dark
values with a color. So if you use a mixed RGB nodes, make sure it is m be the
occlusion is in color. We want the color space
to be non-color data, and then a mix shader we want
it to set at multiplying. Now if I have a color, it will be multiplied by this amide occlusion which
has some dark areas in it. So this purple or whatever we have is not just one flat color, it actually has darker
purpose inside as well where these
shadows are right? Now if you use this as base color and then look
at our principal shader, we have a way better result. This is also a way to create different colors
for your fabric. How far can we go into this? Well, you could use
different colors. You can even use
other image texture. So if I use an image
texture in here, which has maybe a
different kind of pattern. That is also possible. Of course, in this
case, this pattern needs to be in a
multiplying map, but you can see that
this is also possible. Or you can even create
your own textures. So if you are going to put
in a new image texture, rename this to fabric. Then outburst, he puts it
the biggest a bit higher, so we have a bit more detail. Let's say we want a nice and greenish color
to start with. Then I can go to
texture paints and I can essentially paint
on here or on here. And you can change
scholars wherever you want me want something
nice and blue hair. But all of this is
possible as well. All right, so again, very cool if you now to go to the random viewport shading, we create our own color map. And I hope that you
guys can see now that you don't really
need that generator, it is handy, but
it's not necessary. Those are ways to
edit this base color. Let's go back here and
just put our normal n. We can also added our roughness. So if you want to have it
more shiny or less shiny out, highly recommend you do
it if the color ramp, we can play around
with these hair. That's a bit up to you. Normally, you don't really have these very shiny materials, but in some cases you might do. So that's you do
with a color ramp. A normal map is
probably fine bots, one way to make
fabrics look even more realistic is to
create a wrinkle map. If you look around
now in your room, you probably see some kinds of fabrics or maybe if
you're t-shirts. And you will see that none of the fabrics are
perfectly Ireland. They are not just all flat. Most of the fabrics that you have half some wrinkles in them. Even my gardens next to me here have some wrinkles in them. Yeah, this just
makes it way more realistic if we add
an image texture. And in the case
of a wrinkle map, I highly suggest you
get a grayscale maps, so it's like black and white. And let's say I wanted
this kind of fabric here, so I'm just going to open it. What will happen? We have to kind of add this as a bump map. We can use a bump map because
this is a grayscale map. We should put the color
space at non-color data, put the color into the
height of the bump map and a bump map goes into the normal
of the principled shader. Here we have these wrinkles. They are a bit extreme
so you can just put the strength down
until you think like, hey, this looks decent. Maybe 1.501.5,
sounds like death. We have some nice
wrinkles spot is not just too extreme. For Jed. This already looks
way more realistic. The problem is, right now we have this bump map
as our normal map. But this norm map here, which creates the nice depth that we can see in
this fibers is gone. But we can combine them. So the bump map normal goes into the normal
of the principled shader. And the normal map of this normal map goes into
the normal of the bump map. So it's kind of a
setup like this. Now, This is our wrinkles goes into the height
and the normal map of the fabric goes into
the normal of the bump. And both of these are
combined then and go into the normal of the
principled shader. You can change both the
strength steel by the way, this strength only has to
do with this wrinkle map, and this strength has to do with the strength
of the normal map. You can still edit them both. But now there are combined. So very, very cool. And this gives you way more realistic results
as you can see already. There's less. I would love to show you how to create these holes in a fabric. So we use a opacity
map for debts. And this particular material
already has an opacity map. So if you look at
the image textures and then go to the material, we can see that we have a
fabric generator opacity. This opacity map
looks like this. If we zoom in, you can see that around some of these
threats that we have here, there will be small
little holes. Of course, we need to
combine this as well. If the mapping note it
is a gray scale map, it is a non-color data. Again, this opacity map goes into the alpha off
the principled shader. And now they've got
combined and you can see that there are small little
holes inside of our fabric. This is not used a lot, but it could be
handy if you have maybe a big light behind your scene and some of these
little lights shine through. So if you have a
flag for instance, something like that, it
could be useful for them. But in this case
it is so minimal that it doesn't even add that March to the
realism at all. Bads. Let's say we want
those big holes in there that is
way more feasible. What we could do is we can just open it textured like this, an opacity map
which has holes it, this myself inside Photoshop. Open it. And here we can see these holes. Of course now let's
style the laws. So if we just get this
mapping off of here, here we can see these big holes. And of course now it looks a
bit weird because there is no burn marks or
maybe dirt marks. It just looks like holes. But if you add some ways in which actually these
holes could be created, which could be,
maybe it's so old. So it's just very old. And then you should also make this fabric
look a bit more old. Or maybe a fire happened
at certain spots. So then there should be a bit
more dark or black around. In those ways you can explain these holes and then it
will look even better. But that is all just done with
an opacity map and it goes into the alpha of the
principal shader. I hope you guys learned
from this and see how easy it is to actually
add these images. It is a few seconds work, but I also wanted to explain
some ways in which you can even upgraded or make your
textures look a bit different. So you're not just tied
to a certain material. I hope you guys
learned from this, and I'll see you guys
in the next video.
8. Cloth + Forcefields: Welcome. In this video, you're
going to learn how to make cloth and force fields
interact with each other. If we have a flag, we might want some Windsor
to blow it in the air. So that is all possible
in sub blender. These are going
to be the basics. And in the next video, I'll show how to make a more
realistic looking flag. Let's just jump
straight into it. We're going to delete
this default cube and add a plane, mesh plane. Then we need a kind
of a different shape. So scale x 1.5. We of course also
need to rotate this around the x-axis
for 90 degrees. And I want to add
some more geometry. So let's add two
edge loops here. One here, so they
are nice and square and then just
subdivided a few times. Let's go to the physics
section and add a cloth. Of course it's cloth will
just fall down right now because we didn't
assign any PIN group. Let's go to Edit Mode and
select this last edge loop. I will go into the
Object Data Properties, click on plus and focus groups and rename this to be
in group two so we know what it is and then assign these vertices
to the spin group. If you go to the
physics properties, scroll down to shape and grab this newly
created being group. Now these vertices here
will stay where they are and everything else
will act like cloth. This is essentially a
flag without any wind. So first of all, I would also like to add
some extra collisions. I wanted to collide with itself. So do collisions on and make
sure that distance is 0.005, so it's a bit smaller
this distance. That's also right-click
and do Shade Smooth. How do we add winds? Well, click on Shift a. And down here you can
see force fields. There are a lot of different
kinds of force fields. And in this case we're
looking for wind. So let's add wind. As you can see, this wind
is pointed a specific way, so we need to rotate this
and move it into place. You can also scale this
up, as you can see. Now, if you play this, you would suspect
it's due a lot, but the wind is essentially
not doing anything. Why is this? Let's select the
force fields and then go into the physics properties
of this force fields. You can see we have
a type which is wind, shape and strength. This strength is way too low. If it, if I put it at ten, you will not really see
a noticeable difference. So let's put it to like a thousandth and
see what this does. Right now. You can see that it starts
to interact with each other. And even a 1000 might
be a bit too low. So this is a little bit of wind. Maybe you want to have
more wind in here. So let's go to 2 thousand. And in my opinion, 2 thousand gifts at quite a cool effect. This is quite nice. You can also animate these. If you want a little
brief and then you want it to be more stormy, you can put the strength higher. Also noise could be
quite handy because wind is not always
the same strength. You can always just play a bit around fifties options here, but you can see that
it is quite easy to make force fields
interact with cloth. And this works on a
simple model like a flag, but also are more
intricate models. Let's say you have a
clothing on a person. You can make wind or any force-field indirect
with debt, cloth. I hope you guys learned from
this and in the next video, you will learn how to create a more realistic looking flag. We want some nice wind in there, but we also want some
very cool materials. So this flag actually
looks realistic. I will see you guys there.
9. Exercise realistic flag: In this video, you are
going to learn how to create a realistic
flag like this. The first thing is
we're going to do is drag in our flag image. So you can just go to
the top view here. Then just drag in this image. It will not be perfectly
in the middle. So we could go to item, makes sure to empty, which is in this case
it's flagged image is selected and then click on 00. Let's also delete this
cube and add a plane. This plane should have the
same shape as this flag. So you can scale flag down. And you can scale this. Yeah, playing up, let's say
so they are the same size. Let me do it this S and an X, so you only scale it
around the x-axis. This seems to work quite well. Now that we can start
to create our flag, we can also rename this. We need to create, of
course, good geometry. So it seems like this is okay. So two edge loops here around the y-axis and
then one in the x. Then select everything, just right-click and sub-divide
it a few times. This seems to be enough. And now we want to do exactly
as in the last video. We just wanted to rotate
it around the x-axis. We can delete this
image by the way, and just focus on the flag
and then insert edit mode. We selected this edge loop, go into the object
data properties and create a new vertex group. Let's rename this to pin group and assign these
vertices towards our sign. And then we can create a nice cloth material
for the scruff. I want to have a few
more quality steps. Let's scroll down and
look for our shape. We can put our pin
group in here. In collisions. I would also like the collision
quality to be like five. And then self collision
can go on but makes sure the distance
is with higher. Now, let's play this and we
can see some decent results. Right-click Shade Smooth,
and that should be it. You could always add some extra geometry with the
South efficient surface. This creates more defined
and higher-quality wrinkles. The problem is these
edges will also get smoothened out and
that is not what we want. So we're going to select all
of these edges around here. If you just Alt, select
and do it again, it selects his whole
edge around it. Then hold Shift E and then just drag your
mouse all the way to the outside and make sure it is edge crease is a factor of one. Awesome. So now it's
nice and sharp edges. So what we can do now, or what we have to do now
is add a force into hair. I'm gonna put my levels
viewport a bit lower, just so it doesn't lag that
much when I'm videoing this, but it will be rounded at the higher self deficient level. Anyways, let's add
a force-field. Winds. Rotate this, then move the hair. I'm also going to
scale the bit up. And then of course go into the physics properties and
make the strength higher. The last time we did
around 2 thousand. So I'm gonna try that again. Here we can see that that actually gives
us decent results. You can also rotate this in a certain way if you want
the wind to come from here, maybe a bit, rotate it, that is all possible. It's up to you what you
want to create here. You could even
animate the strength. But in this case we're
going to keep it at this. Now we should think a little
bit about the creation of the model itself because just having this cloth is
not enough process. We also need to look
at some materials that we might want
to add later on. The first thing I want to do
is I want to create a poll. What is flag on the flagpole? I guess? The flagpole can
just be quite simple. It could just be a
nice UVs theorem. We can scale, of course down
and moved around the x-axis. Then I'm going to go
into the front view, then into wireframe mode, and I'll make sure to select
all of these vertices. Then click X to delete
those vertices and just extrude this
one-on-one downwards. We can still move like play
around with the scale. Around here maybe. But this already looks better. We have a nice rounded top. And then this, all those goods, these of course needs to
be connected somehow. And we could add just
some Torah says to make it look like it's
connected, so Shade Smooth. I'm going to make sure that
my 3D cursor ends up here. So Shift S curves to select it, and then add a Taurus. You can edit tortious
inside here, or you can scale it down
inside the edit modes. The problem is
insert edit modes. You might think you
cannot make this thinner, but you actually can. Instead of scaling with S, you do Alt S and this kind of inflates or deflates the model. As you can see, you can
still make them like this radius smaller so
that it's very handy. So this one here, Shade smooth. I'm going to use
another Torres for. This part that's
rotated 90 degrees. Let's make sure
the y is set at 0. This is going to be
a little tourists here inside the flag itself. Make it a bit thicker.
Doesn't have to be too big. We're going to make a kind of a image or video
from Betfair away. So we don't really need to
go into too much detail, but we still want to
see it a little bit. Okay, so somewhere around
here might seem goods. But you can see that now
if it gets animated, this, it just falls down. You could always
includes this as well. So these, all these vertices into this painting group, okay? So, uh, just select
the pink group and then click on Assign. Now both these will
not get moved. You could move this bit of rounds and now it
stays in place. You can always do that. Could also be very handy. We can move this down, but I personally think we should just finish this and then just mirror it or duplicated
off to the bottom. How are we going
to connect these? I'm going to make this
one a little bit larger, and I'm just going to
connect it with a curve. Let's do curve, circle
or nerves circle, Let's do circle in this case. Both of them are good though,
and instead, edit mode, you can see that we
can move this around. Just gonna be a
little rope. I guess. It might be a bit hard to
see what you're doing. What you could do is
go in object mode, then go underneath in the object data
properties of this curve, go to geometry and
change the depth. The depth can be this analysis essentially the thickness of this J curve or
this NURBS curve. And we can still
move this around. So this is quite handy
for creating ropes. And that's the kind of stuff. You can scale this up
and down as you can see. You can also rotate or move these individual
points as well. So it's quite handy. And I don't really want to
create holes in this cloth. I'm just going to match
this up a bit more and just scale this a bit down like this. So it's not that noticeable
from further away. It is not noticed
about the all anyways. But this is quite a handy to do. Just that is all filled
up and we don't need to create more geometry. So this can be moved over here. Perfect. Now if
you're happy with it, you can essentially
just duplicate this over and then move
this to the bottom. And that works perfectly. You could, of course, play with around here so they don't look exactly the same. It's always handy to have some
randomness in your models. And that looks quite decent. This looks quite cool. And this is essentially
all sorts we're going for. But if I want to
move this around, I don't really want to select every single piece here and
then start moving them. What I would like to do is just create an empty somewhere. So if I go to the bottom, select this whole edge loop, Shift S curves to select it, and then add an empty. So here, play an axis is fine. Then I'm going to select
all of these models here, including the cloth. We don't need to
select the camera or lights and also not the wind. Then as last, we're going to select the empty so you can hold Shift and just select it so
it's orange in this case. Then click on Control P and
set parents to objects. Now everything is parented
towards this object. You can see that the cloth
doesn't move with it, but we need to go to frame 0. So we can actually see
that the most refit. And now we can move this around. We can move this ball
around with the flag. And that actually is quite cool. So it's not just very
static and moves up. So if you go to the camera, you can move this position. So view camera to View, you can just choose
a cool position. Maybe in this case, we want to render at something like this. I would always suggest you
still do a little bit of a prelude to look where our
flag is actually going. But this actually
looks quite cool. I might zoom out a bit. And now we can start
to think about the lighting and of
course, materials. If we look at the rendered
viewport shading, I personally like to go
inside cycles just looks way more realistic and make sure
that the FIS to set at GPU, if you have a good GPU, it looks quite boring heights. And what do we do about this? Well, let's go to shading. Still go to the random
viewport shading. And let's create some lights. So the first thing that I'm thinking about is going through the world and add an environment texture,
certain environment texture. We can drag this inside the backgrounds and open
an interesting one. I'm going to choose
the Chiara down. Here. We have a quite
cool backgrounds. So I don't want any folks to
be on the background itself, so I actually want
it to be blurred and we can do that in
the camera itself. If you select a camera here
and use depth of fields, we can focus on a
certain object. So in this case, it's gonna be the object that is
very close to us. And everything which is
essentially far away from this object
will be blurred out. If you put this f-stop lower, you can see it gets more and
more and more blurred out. So maybe 0.3 or point to blurs out these mountains
quite nicely. And then we can focus a
bit more on this material. I personally wanted
this background to be a little bit more dark. So maybe you 0.3, just so I can add some
extra lights in here, which essentially will make this model look a little
bit more realistic. Because if we just
start to add materials, which we can do now, select this cloth,
which is just our flag. Click on New. Let's rename this to flag. The first thing I want
to show you is kind of an image where we're
kinda going for. So this is a real image. And what they're
trying to create here is some
realistic materials. The first thing that
we want to do is, of course have some
cloth in there. You can also see that
there are loads of wrinkles and even
some translucency. We need to create all of those. Let's go to the material
preview and first just add some cloth
like appearances. And so control shift T. Then go to the fabric, select the specular rafters, a normal map, then
texture setup. And here we can move
this a bit down, but we don't have any code yet. First thing, let's make
this a little bit smaller. So maybe scaled times
five, something like that. It looks a bit more realistic. And let's add an image texture. And this image texture is of course going to be
our little flag. Now we have the reflections, we have the height, and
we have the colors, already starts to look good. I personally also like
to use the xin in here. And if you want to
change the roughness, you can always use a
color ramp and play around with these sliders
and even the colors in here. This is not all because we do not have any extra
wrinkles in here. We could go up in more
geometry that is also good, but still dead will not create the wrinkles
that I'm talking about. Because often when we
look at a material. So if you look in your room, maybe you have a curtain, maybe your T-Shirt, or you
can look at your bedsheets. They have wrinkles. Those wrinkles needs to be recreated with a very
simple texture map. Let's use another image texture
and open a wrinkle map. This is a non-color data
because the wrinkle maps should be in grayscale black
and white picture. And because I wanted to
use this as a normal map, I need to use a bump node. Bump. Color goes into Heights and the normal
goes into the normal hair. And this creates these wrinkles. They are way too
extreme in this case. So we could of course put
this strength way down. I just want a little hint of it. Now, I can put the normal map of this fabric into the
normal of this bump nodes. The normal map was still have the same strength or you can change it here if
you would like to. You can put it to 0.5. Both of these normal
maps are shown. Now, if we go to the
render view port shading, we can see that everything right now is working
as intended, but we are missing
one quite big thing, and that is the translucency if we have a light in the back. So if I move this live
here in the back, we should be able to see
this light coming through some of this fabric that
is not going on right now. So we need to add a
translucent notes. You can add or create
translucency with the subsurface or creating
an audit translucent notes. The subsurface we will do in another exercise is going
to be with the curtains. Right now, I'll also show you the translucence node like this. Let's add an edge shader. And we can mix
these two together. So you can see that
everything becomes white. This is because this light
is very much behind it, is very close by and it
emits a lot of slides. Plus the translucent is wiser. Now, if I choose a
different color, it will essentially
show a different color. We're going to use the
same color as our flag. So we can just put a
scholar into here. And I'll move this up just so we can see what is happening. You could even change the
color if you would like to. In some cases, I find,
especially with leaves, you can see that the leaves
seem way more bright, sometimes even a
little bit yellowish. If the song just shines
through like that. You could add a hue and saturation note and
play a bit around that 0.05 to change a
little bit of the color. It is not necessary though. What is necessary is grading extra thickness or
essentially parts which have less translucency. In this case, because these two pieces are sewn
together here in the middle, there is a bit more
fabric in the middle, so it is thicker. This means less light
will go through. If you have that. Or you can see it here,
even in the wrinkles. We need to also kind of fake this or create this
inside Blender. We can do this with a map. So I created a map here. Looks like this, a
translucent map. And this is also
a nonpolar data. It looks like this. If we combine this one
with this one together, then we can create this little part which
is not so translucent. So I'm just going to
have this creates a mix, RGB, mix these two together. And that gives us this result. So I need to change
this to multiply and put effect all the way
up these dark areas. Essentially, we will not
have any translucency. The next thing I don't
want to do is also have some of these wrinkles
that we have. Also be less translucent. I'm going to duplicate
this Control C, Control V. Then just drag this one up here. And I'm going to
combine these 2 first. So I'm going to just
drag them down, copy this multiply node, and then match them together. Bomb here you can see that now we have
some wrinkles as well. If you want to make them
wrinkles more prominent, use a color ramp. Use it with the wrinkle, and then just drag
this black forward. So it does this. You can see here, this
essentially S already good. And if we now put all of this, so these four notes
into this node here, into the translucent nodes, then we get this cool effect. Now everything is
joined together and we have parts where
it's not translucent. Paas, we can see our
wrinkles even better. If you think it's
a bit too often, don't really change
anything yet. First make your lighting better. Because if I move
this further away, you can see less as
Festival of this. So I'm gonna change this to sun, put a strength at
ten because the sun is just overly strong here. And use notes. This strength we still
need to play around with. I'm going to move my son a
little bit back of it here. Then play just so I can
see what is happening. We have some cool reflections. We do have our translucency. If the translucency is too much, you can just change it inside the hue and
saturation value here. So we can just put this
value a bit more down, as easy as that. I purchase. Do you think the background
is a bit too bright? So if we look from
the camera view, you can see that the background
seems a bit too bright. So I put that to 0.1 and maybe
even use a mapping notes. So if you hold this control T, You've got your mapping
notes and then just move the location around the
z axis a little bit up just so we have
some more sky in here. It looks more realistic
in that case, I feel like this is essentially what do we need to do to create a
more realistic model. You can play around if
any of these options, if you think like oldest
wrinkles are still too much, it could be inside
of this bump nodes. But because we also
have this wrinkle note inside of the
translucent shader, you could also make this a
little bit less feasible. Both of these you can
work on like that. And as I just did a very, very basic material
for this part here. And that is just
creating a new material, making it more towards the
black or dark gray. Here. And I think I did a
roughness of 0.2. You can copy this over to
every single piece here. So just select all of them. Then this one is last Control
L and then link materials. It's up to you how much
you want to do in that. But now you can just start and render your picture
or animation. And that is how we create a
more realistic looking flag. I hope you guys learned
from this and in the next part you're
of course going to learn some extra stuff. So I see you guys there.
10. Exercise towel: In this video, you will learn
how to create this towel. The cool thing about creating a tau is that we are going to apply multiple techniques
from previous videos. You will also learn
how to create a particle system on
top of your cloth. Everything will still
be non-destructive. So it could even
be an animation. We're going to make a
steel version off of it, but you have the ability to
also make it an animation. So that's very cool.
So let's just start. The first thing is we're going
to do is create our towel. Let's delete this default
cube and add a mesh, which is just going
to be a plain scale, this plane around
the x-axis for two. Of course, we need to
go into edit mode and create an extra edge
loop in the middle, just so they are square. And we can select
everything with a and then right-click and
satisfy to the few times. You don't need to satisfy
it too many times, but around here will be fine. Now, I'm going to select
these two vertices here. And I'll go into the object data properties
That's click on Plus on the vertex
groups and rename this to pin or pin group. You can also assign these
vertices to this group. You could do these vertices, or if you remove them, you can also choose
these ones here. Assign. These pins are going to help us to
hang this towel. It's going to hang
on top of a hook. And you could also do like, Oh, I'm gonna create a hook. And I tried to throw your
blankets on top of the hook, but that is just so
much extra work. And that is why I'm
going to show you this nice pin groups. Let's make this a cloth. So go into the physics
properties and click on cloth. Make sure you have this plane. In this case, we can rename
this to tau selected. Now, if we play this, it would just fall down. That is because we didn't
assign our pin group yet in the cloth modifier
scroll all the way down. And here we have shape in
shape, you can see pin group. Now, you can instantly select the group that you
have created before. Click on it. And if you play now
you can see that everything will be nicely. Pins and other hang
upon their perfect. So what do we need
to change here? First of all, I want a back wall because I want this graph
to interact with the wall, but also interact with itself. So we need to work
with the collisions. So Shift C, just recurse
in the middle and then create a nice new plane
rotated around the x-axis. And I'm going to move
it one backwards. So you can see these units here. And if I do g, y one, then it will just snap
back one of these units. And that's kind of where
I want my Walter B. We can also rename this to wall. And we can scale this up at
times, maybe ten suddenly. Now this wall is going
to be a collision. So click collision, and these
options are probably fine. Select a towel, scroll down. And also underneath Collisions, make sure you take
on self collision. Otherwise it just goes
through each other. So let's play this again. Here we can see it
interacts with the ball, it also with itself. Now our Tau hangs
nicely down here, perfect, right-click,
Shade, Smooth. And here we can see the faults and wrinkles this tower creates. I personally like
what we see here. You could play around
with other options. Of course, you know how
this works already, but you can also
change it to cotton, denim, maybe even robber. But in my opinion, just as normal preset
that we started with, actually already looks good. I don't think I need
to add extra geometry. So if we don't need to do that, then we can go on and
make this nice and thick. So let's go into
the modifiers and add eight solidify modifier. Of course it needs
to be a bit thinner. And I would like to add a soft efficient
surface right now. Just so we have some
more geometry and it looks all of its
smoother. Both. Remember, this sup
deficient surface is after the Croft modifier, so it does not get included
in the simulation, so we don't get smaller
wrinkles or anything like that. What do we do next? Let's create some hair. Go into the particle properties, click on plus, and now we
have a particle system. This right now is an emitter. We don't want that. We want hair, so click on hair. The hairs are extremely long, so we can of course
make this smaller. You can do this underneath
the hair length. One thing to keep
in mind though, is that our cloth or our
particle system in this case, does not keep in mind all of
these modifiers she heads. So it only spawns these hairs from one side of the cloth because it doesn't
see the solidify modifier. If you go down into source
underneath emission, you can take on use
modifier stack. So now the system
knows that it should take into account all of these modifiers that we
have created before. The hair length is
quite important. We don't want them to be too
long or of course too short. So maybe 0.01. Maybe a little bit bigger. 0.03 could also be good. And we can always
go back into this. By the way, it is quite hard to know how many of
these you want to span. It depends on your model. Sometimes just a one seed is not the same
as another scene. So this takes a little bit
of figuring out doing pretty rounded as a squat importance and just seeing
what is happening. In this case we have a
number of thousands. We know that there
is not enough. Also all of these thousands
are already shown here. But let's look at
the shape first. If you go into the future
shedding rendered, we can see what is
happening here. By the way, you have to go
to render engine cycles. And now you can see what
the hair actually does. I also like to put
the device at GPU. So we're using a GPU instead of CPU. It's
just the way quicker. These are our hairs right now and they just
look ridiculous. It doesn't really look like hair that we would
expect it to be. That is because the shape of the hair can also be changed. Let's go back to the
particle properties. Let's look at hair
shape. Right here. We have a diameter of
one and a tip of zeros. So that is why it's tapered off. If we put both of them
at maybe points to we get more of the shape that
we might expect in a towel. Right now, you can
also think it's this large enough or is
this too big, right? So I think the hair length
might even be a bit too big, so 0.2 points, one might
work better in my case. Again, in your case, it could be a bit different. If we look at these hairs, they look decent and I would
like to look at them in the solid viewport
shading just so you can see it's from this. They look decent. Bots. If we look at this, you can see that they
are just straight. They almost look like
cactus needles instead of those kind of tower
fibers which go off. Those are way more smooth. So we need to create some
randomness into these hairs to make them look more soft
and more believable. I like to do that inside of the particle
system, of course. So make sure you
tick on advanced and now we have some extra settings. We can go into velocity,
into the physics. Let's go to velocity
first in philosophy, we have randomized
and what this does if we do very slight edits. You can see that now even that is too big by the way
that they were edited it, it needs to go into 0.01. But you can see that now these little hairs are
gonna be spawned in a random ways and not just straight on as we can see
if I put this at 0 again, not straight but a
little bit curved. So maybe 0.001 or
two goopy already. Good enough for this. Now they're a little bit more randomized, which is perfect. Because the more random
things you have, the more realistic
it kind of gets. Underneath physics,
we have brownian. And Brownian is the amount of random erratic
particle movement. So in this case, I can just show you
if I put this higher, is that our particles or
a Harris in this case, going to curve around. Those are random movements. Also this you don't
want to make too big because you
can see that also the hair length actually
grows in this case, that's just because it gets more random and random
and then just grows. Very small little edits will
do in both of these cases. Very small edits. To big, smaller curve is
everything that you need. Maybe 0.003, something
like that, work. So those are the
two options that I would highly suggest you play
around with the Brownian, maybe the object philosophy. In this case, I chose randomized just so they
are a bit more random. We still can play around with the hair length if
we don't like it. But I would highly suggest
you keep rendering in-between to see what
actually is happening. In this case, let's put some lights in here
and put a camera in position so we can do a little pre-render and see if we want to change anything. So what we can do now
is go into shading, click on 0 to grab your camera. And we can move our camera. With this few options. View, View, Lock camera too few. We can move it here in front. It doesn't have to
be perfect yet and then take it off so I don't
move it by. Excellent. Now we have a light here. And if I click on the
rendered viewport shading, you can see that I can
move my light around. And this is essentially what
happens inside the scene. So if you click on 0, you go into your
camera viewport. But now I cannot really see
where my lightest anymore. So I like to use too. 3d viewports. With one of them, I stay
in a camera few so I can see what's happening when I'm
actually gonna run there. And one, I am going to change the lights and
move them around. In this case, this slides, I actually like it
in this position. Bots, we can see that we create a quite a harsh
and sharp shadow. That is because this
light is not really big. If we go into the object data
properties of this slide, we can change the radius. If you move it to one, you can see that the shadow automatically
becomes more smooth. So the bigger lamp is, and it also has to
do with distance. So a big lump close-up
is a nice soft shadow. So let's move this light hair and we can use notes
for the light as well. In this case, you can play around with if the
strength here, instead of going into the power. Also very handy. We can duplicate this and
move to the other side. So kinda have like
a two light setup. The second light is going
to be our fill light. So often we wanted
to put the strength the second light a bit
down, so maybe 0.3. This slide's just makes sure that the shadows
have been created. The first slide
are not too dark, so it's the brightness up
those shadows a little bit. Maybe 0.2 will be better. In this case, we have
some nice shadows, but they're not
overpower too dark. Awesome, So we have
some decent lighting. And if I start rendering now, we can see our hairs or
our particle system. We can see our hairs here, but there are a very
limited amount of hairs, so it doesn't really look good. So I want to show you now that we have the
particle systems. So make sure you select
your towel again. Go back to the product
system that there are two ways to
create more hair. First of all, you can
just bump this number up. Be careful though if you go
too high in this number, it essentially renders every
single one of them also in the few ports that takes
a toll on your computer, it just costs a lot of memory
to actually execute that. But if you want to do that, you should go to
Viewport Display and put the amount
of this lower. Now, if I put this to ten, it will only render a
100 of these hairs in the viewport and the
vendors will just be the normal thousands,
which is shown here. But this is a great
way to bump this up. If I put this to 10 thousand, right now, only a
thousandth will show. And I can even put this to 1%. So I can do a 100 thousand
or even 1 million. That is a great way to do this. And if I render right now, you can see that we get some
more hairs on this model. Let me zoom in a bit and you
can see what is happening. As you might have guessed, this is not enough
hair and I totally understand what you
can see that if you can just bump it up
higher and higher, more and more ****
will be created. So probably I need
to create like 500 thousand or even a million. Let's use a million. As you can see, that creates a nice and
soft looking towel. So you have to play a little bit around with the
hair, a missions. And if you want children in
there, you can also do it. But as we can see,
the hair emissions works fine right now. What do we want to do with this? Well, we are missing two things. First of all, I like
that in some cases, a little bit of a
towel actually doesn't have this soft hair on top. We can also see it in images. This is a picture. You can see that
here, for instance, we have none of these fibers that actually
are sticking out. And this actually has
a certain texture. So both of these needs to be
created. How do we do this? Well, let's first play
around with the texture. Just so we have a nice color. Select your tower, click on New. Here if the principled shader clicking Control Shift and tea. In this fabric, we only need the specular roughness
and normal map. So I just select them
with control by the way. Then you can select one-by-one. We don't really need
any color because I want to just add a
color by myself. So principal texture setup. And this all seems goods. The only thing that
we want to do is change our own color hair. What does this texture
actually look like? So let's go into the
viewport shading here in the material
fuel for cheating. Here we can see our texture. We can change the base
color to whatever we want. So maybe we want this
one nice and rats. And here we can see
the normal map. In this case, I do think there's normal map is a bit too big. Just go into the mapping. Note, just click
on three or five. I think three in this
case might work. And then we have
a decent results. The also, the nice thing
about this is that our hairs will automatically
also change color. So they were essentially after color from the texture below. As last, we want to exclude certain parts from
actually creating hair. So you can just
select your cloth, go into top to go
into edit mode, and select certain
rows of phases. So maybe these two here. So 12312345. Again, go into the
object data properties, create a new group. And this is going
to be just do like no fibers or no hairs
and then assign it. Now, the only thing
we have to do is of course go back into
our particle properties. Before we're gonna do this, you can see that I did
not bake my cloth at all. So let's actually go to
the physics properties into the cache and then
bake this maybe to a frame, a 150, something like that. And then just bake it. Now we have fixed death problem. We can zoom in a little
bit and see our hairs. So to exclude certain parts, you go into the
particle properties, scroll down and go
to vertex groups. Then inside density we
can put the no fibers. You want to exclude
this by the way, because now you can see only where we actually are selected. And let me put it here. Where we have created
these vertex groups. Only there will be hair. So if you click on
these little arrows, it will be inverted. For our effects. Now everywhere, hair will grow except in a place
that we infer it. So let's render this and
see what is happening. Here. We end up with a
nice looking towel. Awesome. Recreated a nice cloth. We put hair. So a whole particle
system on top of this. You could still animate this. By the way, this, like all these particles are still editable,
which is very cool. That's why we work
with these modifiers. Yeah, it looks quite realistic. So I hope you guys also learn from this if there
are any questions, just ask it and otherwise, I'll see you guys
in the next video.
11. Exercise curtain basics: Welcome to the creation
of the curtains. So these are going to
be multiple videos, but in the first video, I will just show
you how it is done. Let's just jump
straight into it. The first thing that
we're going to do is delete the cube and
create a plane. Let's rotate this
around the x-axis for 90 degrees and then go into
one which is the front view. Now, we're going to use for vertex groups to
create our pin group. And we're also going
to use Shape Keys. So I've learned
this technique from Andrew Price and it is
really a nice technique. So these shapes, these are
gonna come in very handy. And the way that shape keys work is essentially when
you click on Plus, you can see we have a basis that is essentially just the
base model that we have. Now, if you click
another time in plus, you can see that
we have a key one. You can rename these by
the way if you want to. But what's going
to happen if we're going to make changes
in this mesh. So let's say I move
this vertex forward, then I go outside
of the edit mode. You can see it's not the back. That is because the
key is now set at 0, which essentially only
shows now the basis. If I put this to one, it then shows that the
vertex is moved forward. And anywhere in-between
is essentially just in-between the
basis and a key one. You can also create more. You can create a k2, k3. We are only going to have one, so don't worry too
much about it, but you can see that
it is quite handy. The first sense we're
going to do is we go into edit mode and then create
some more geometry. So a right-click satisfied. You can just have a number of cuts in this case That's
just do a hundreds, hundreds, maybe around the 80, something like that would
always work great for curtains. It of course also
depends, as you know, on the material that
we want to create, an olive depth and of course how big the
curtain might be. But let's just start here. What we want to do
is we want to create a pink group from
this top edge loop. If you just hold
Alt and then just select one of these vertices, you can see that this whole
edge loop gets selected. Then click on Plus
in the FedEx groups, and this is going to
be our bin group. Make sure you assign these. And right now we can go into top again and click on Plus
in the shape keys. You have to do two
times because we need a basis and a key one. Now what we can do
is we can go here. I'm just going to
click on Shift H with this whole x loop or pin
group selected, so Shift H. And now we can just
focus on this only. What I want to do is I want to select this whole edge loop, but I want this last
one selected as last. So if Shift select, you can essentially just
re-select something. And I want to do this because I want this vertex to be whites. You can see the little dot here. And that essentially means that this is the active elements. I want that because if
I scale this right now, I just scale around my
median points here. But I want to scale around
the active elements. If I scale now
it's skills around this active elements and I want to scale 0.5,
then click on Enter. So essentially
scaled it in half. Now if we go back into top, you can see that
African setback. And if I put a ski
from 0 to one, you can see that we get
a small change here. It moves. The vertices here. Move. It seems a bit weird, but it
will very soon be explained. We can animate this
from frame one. I'm going to have
0 key, so insert. And around frame 40, we can have all the way at one right-click
insert keyframe. Now, it will be
animated very slowly. You can always move
these keyframes around. So if the curtain gets
collapsed too quickly, then you can of course, move this to maybe frame 60. Why do we do all of this? Well, let's go into the physics properties
and create a cloth. In the cloth, we
will go instantly to the shape and put our pin
group into the pin group. Now we can see that we created a very nice,
good-looking curtain. How did that work? Well, we collapsed that
pin grouped together and as we know because of the pain group occurred
in those fall down. But now the pink group
is also animated. It collapses together and
all of the geometry on the leaf will essentially just follow as normal cloth will do. That is essentially how it
works and it works great. As you can see. The only thing that
we need to do here is maybe put the quality
steps a little bit higher. Of course, some collisions. I would also put the
quality steps in the collision higher and use self collision makes sure you put the self
collision a bit lower. 0.005 seems to work great. If you play it again,
we can see that, of course it takes a bit longer, but we even get
better results here. Now, right-click Shade Smooth, and that is essentially
everything that you need to know. Now you could bake it, cash, go to bake. And now that
everything is baked, we can look for a certain spot where
everything is nice and hanging maybe at two tenets
seems to be quite fine. And that is essentially it. So now you could just
apply this cloth modifier. When you apply it, however
you can see the modifier. It cannot be applied to a mesh because it has shaped keys. You can literally just
delete is shaped keys. The cloth will stay the way it is and then applied if needed. If we add a sub
deficient surface, you can see that
these corners now get a very smooth it out. You can avoid this. So go to Edit mouth, then Alt H to unhide everything. And just select these edges. Then click on Shift E and
then make them sharp. So just drag your line all the way out and
then becomes nice. And the pink, I guess. Now they don't get
smoothed around. That is great. And we
can of course also add a solidify modifier to make a crop a little
bit more thick. Perfect. And those are
essentially the basics of creating a curtain. If you wanted to know more about creating
curtains and actually creating some nice pleads to
make it look more realistic. Also some materials
I would highly suggest you also look
at the next video. I will see you guys there.
12. Exercise realistic curtain: In this video, we're
going to create a more realistic curtain
in the next video, which will be the last
video of the curtains, I'm gonna show you some
extra techniques in which you can enhance your curtain. So maybe that they are
laying on the floor or they're pulled
a bit backwards. But in this video, we're just
going to focus on creating a really nice and
realistic curtain. I will highlight files. You also open the exercise
file that is provided. None of the exercise
files are needed. It's just to make your
life a little bit easier. This is all included
in this file. We have a floor, we have a wall, we have a window, some lights. And of course we can still
change some of these values of the lights or put
the camera a bit closer by or further away. But that is all for later. One thing that is hidden though, is the room because it just obstructs too
much of the view. So sometimes when you hide
everything in an unhide it, the room might get back. You want to hide
it again then just because it's just
annoying, that's it. Now, we're going to hide
these two for right now and just select the
curtain collection. Click on Shift C, and here we are going to
create our curtains. So shift a mesh plane. Let's rotate this around
the x-axis for 90 degrees. In this case, we want to
add some extra geometry. So go into top,
right-click sub-divide. Let's go down here in the
sub-divide little tab. And we want to put this higher, so somewhere between
8100 will be fine. Let's do a 100. In this case, we can always just edit this plane if needed. So what do we want
to create here? First of all, the steps that I explained in the last
video will still apply. We are still going to create
a pin group and all of that. The problem is with
our shape key, we have a very limited option and there are a lot of
different curtains around. Apparently. We have a re-perform, a tailored plead, a pinch
present in vertebrates. We have this, which is
called a rock pocket. And probably what we created in the last video will look the
most like a rock pocket. But it could be quite messy. And if you create a lot
of nice interior scenes, you might want to use something like an invertebrate
or I pinch speed, because those look quite nice. We're going to create the
pinch breed in this video. And with this technique, you can probably also create
most of these other ones. Let's just get into
it the pinch bleeds. And what we want to do is
the same as the last part. Go into the object
data properties and create a new vertex group. This is of course going
to become our pin group. So pin, we can assign this whole top edge
loop to this pin group. Now, go inside object mode
and create two shape keys. The first one is
always the basis and then we have our key one. Here is going to be the
difference from our last video. Let's click on Shift H, so we can just focus
on this part and click on seven to
go to the top view. Why do I want to go
to the top view? Let me explain. Inside Photoshop. I kind of zoomed in on here. We need to or we are going
to create the pinch bleeds. And if you look at the pinch breed in
kind of a cross-section. So if you just take this area, you can see that you first have a little bit of a
straight parts. Then we have something
round these faults, three volts in this case. And then it is flat again until the next three folds flat again. If we zoom in on one
of these sections, 123, we can see that if we just have a vertex
here and a vertex here, and a vertex here, that we can create
these shapes here, here, here, here, here, and then here to
decide also one. If you'll just create this with the geometry
that we have, then we can create
these splits with ease. Let's select some of these
vertices to create that. The first two I will not select just so they stay straight. Then I will select
one, skip one, select one, skip
one, select one. These are the three pleats. 123. Later on, we will
move them outwards. But I first want to select everything so I don't have to
do it over and over again. Now I will skip
1234, then do 123. So every time I
have four skipped, then I create my three periods. 123412312341231234123. Here we are getting a
little bit of a problem. We cannot really finish
this three anymore here. So I suggest we will
delete these later on, these three at the end. But first of all, we're
going to move these down. So g Why? And then just move them
down to the second unit. Now, Alt H, Make sure you
do z and the wireframe out. So we can de-select these
three rows of this x vertices. Now let's go back and
just the top parts Shift H. And here we can
see what is happening here. So here the right and the
left are exactly the same. And everything else looks good. If I will just play this, nothing really would
happen because there's not a lot happening here
from key one to 0. Only a few shapes are different, but this will not create
those huge, nice wrinkles. That is because we still need to do the same as in
the other video. Select the whole edge loop, then this one is last. Make sure you have the active
element as Pivot point, and then scale this
down around the x-axis. Scale x 0.5. Now that we have this, we can start to animate
these shape keys. So go to 10, insert keyframe. Let's go to 40. And then we go all
the way up to one. Right-click insert keyframe. If this animation is too quick, the cloth will kind of
collapse very quick and it could create
some problems. If it's too quick, you can always move this
last one around. You can always make
it a bit slower. Let's go into the
physics properties. Click on cloth and scroll down. Go into shape, and make sure we select our pin group, Pin group. Now if we play this, you can see that it
falls nicely together. This already looks way
better than before. The problem is these parts and it's a little
bit hard to see. So let me right-click
and do Shade Smooth, and we can also add a
subdivision surface. The problem is these parts here are not pinched
well enough. We're not creating
this point here. You can see that they
are not pinching at all. How do we change this? Very easy, just make
sure you go back into the object data
properties and make sure you go to frame 0 or frame one also makes sure it
is key one is selected. Now what you want
to do is we want to edit these fleas that
are closer together. So what you can just do is
select all of this every time. Then we want the scales
around the x-axis. Let's makes sure you
use individual origins, scale x, and now they'll
get scaled down a bit. Perfect. So you don't want
to overdo this, but this is already way
better than before. The problem is, now we have a huge difference between
this edge and this edge. You want to minimize
those differences. Also. You want to
do it everywhere. So this edge should
bind the kind of be the same length as this edge. Every edge should
be the same size. Otherwise you might
get some problems. It is okay if it's a
little bit bigger, a little bit smaller,
but don't overdo it. So in this case, we are
going to select all of these here in-between. And then scale around the x-axis again, somewhere around here. That's already way better. Let's look again at our animation now it's
gonna change, of course. Here we can see that they are
pinched way more together. And I actually like
what we're seeing here. So we're going to
keep it at this. Perfect. I press select, just bake
big this at this point. But I'll make sure
that I changed some options here
because first of all, it's going through each other. We can probably see it
somewhere around here. See there is no
collision on itself. Plus, if you want to
have some collisions, make sure you put the
quality steps up, so two to seven is fine. Then of course we
go to collisions. Put the quality
correlation is also to five or something higher. And make sure you have
self collision on. Make sure also to put the
distance a bit lower, so 0.005 will be fine. Now we can bake this. I think 250 frames
should be fine enough. Now let's check our simulation and everything
looks quite decent. I'm going to pick maybe the last frame just so there
is no movement anymore. And if you like
what you're seeing, you can duplicate this. Make sure you create
a new collection. And this is going to be
named as like cloth backup. And make sure this plane goes into the cloth
backup, we can hide. This doesn't matter at all. But the thing is, we're now going to apply our
cloth modifier. If you apply it, you cannot go back
into this anymore. If there is something wrong or you want to do and not occurred, then this is just a great
way to have a little backup. I will also highly advise
you to also save this. So just always make
extra safe files. Let's now finalize this curtain. Go into the modifier stack. And apply this modifier. And of course we got a
little error modifier. I cannot be applied to a
mesh width key shapes. Go to the key shapes here
an object data properties, and make sure you delete them both with clicking on the minus. Go back into the modifier stack. And now we can apply this. Perfect. If we now look at the model, we can see it looks better, but we still are
missing a piece. We essentially created
it until here. This top part still
needs to be created. And it's very hard to do this in the Croft modify itself bots, we can just create it. Now, what you can do is
you can go to Edit Mode, select this top edge loop, and just extrude it upwards
somewhere around here. Now to create this nice
little pinching effect out at phi xi to
pinch these together. And maybe even
Flaherty is a little bit more out, but
that is up to you. You can do that piece by piece. I would highly suggest you hide your subsurface
modifier for right now. And how I like to select
multiple of these groups is just selecting this one
holding control and then go towards
the last vertex. Then we've shift I will select the next
part of the group, the beginning of the group, and then hold Control
again and set the next click Shift, Control. Shift Control. Now, make sure your
pivot point is set to individual origins and then
just scale around the x-axis. Make sure you put your
subsurface modifier on again. Otherwise it's just
too hard to see. It's a scale on the x-axis. And here we get this
nice pinch together. Look, we can do the same on top essentially to just flat
them a little bit more out. So hide this one. Scale x and then
Florida bit more outs. Of course, we need to see it in the modifier
stack as well. Perfect. The only thing that we
can see now is that these corners are
quite rounded off. That is because we
have our geometry, but then of course
a new subsurface modified goes on there. If you want to have
that nice and straight, you just select all
of these attributes around all the way
here and then Shift E. Drag this out towards the sides. You will also have
a little option coming up here which
is edge crease. Makes sure this is set
all the way to one. And now these edges are creased. They don't get rounded off
anymore, as you can see. That is to fix that
little problem there. This is essentially your garden. What we can do now we
can place it inside of our scene and then start to
create some nice materials. Let's make sure we unhide
everything except this room. We still want to hide that. It's just annoying. And of course we don't need this cloth backup at this point. Because this is
accepted and applied. We can just move this around. It's not a simulation anymore. I can literally just move
it in front of the window. Pullback camera here, maybe grab another view just so I can move around and scale this bit up. When you place it in
front of a window. It is nice that it of
course, covers the window. It needs to be big enough and also no window pieces or
whatever should go through. Make sure you just put
it a bit forwards. That's totally fine
because often you still needs to create a little
frame on top here, which of course holds the
curtain in place, right? So something around here
will probably be fine. That's it. Right now. We need to
finish our curtain. And we're gonna do that
with some nice materials. You can already
see that there are a lot of different kinds of materials and Africans
or it looks different, but there's also kind
of cool about it. If you want the Lysol print, you can download
any texture with a print on it and put it on top. But there's also a
difference in translucency. For instance, this one might be a total blackout curtains, but this one is
very translucent. As you can see, the
light shines through. Gonna show you how to
create either one of those. But we're just going
to take a little bit of a middle route. Let's just jump into Blender. And the first thing
that we want to do is go to the shading tab. We don't really
need the timeline. And when you have your
curtain selected, you can also rename
this curtain. You're going to click on New. Also rename the
material to shorten. Here we can start
with our materials. First of all, I want to
throw some texture in here, so select the principal shaded
and click on Control Shift T. And here we can
open our fabric. We only need the base color, the normal map, the
roughness and the specular. Then click on principle
texture setup. Make sure you go into
the material preview and zoom a little bit in. Right now you can see that this texture is a
little bit too big. You can go down here and
maybe put the scale a bit up. Let's do 1313 or 15. And this already
looks way better. The problem is, this part here
which we have created new, is essentially all stretched and that is not what we want. Let's go to the UV
editing to fix this. Makes sure in the
UV Editing tool to also select UV
sinks selection. Now if I select
something in the 2D few, it will also be selected
in the 3D view. And if I select
something in a 3D view, it will be selected
in the 2D field. What we can see here, if I go to the material pre-fill is that we have a
lot of stretching. Let's select this edge loop. And you can see it also
selects into the few. Go to the 3D view
and click on G, Y to move around the y-axis. And you can instantly see that this part gets
updated quite nicely. So this length here
should be the same in the 2D few kinda
just prolong it. And here we have a nice
and these three salts, so that is fixed. We can go back to shading and start with the translucency. Blender has a
translucency notes. So if you go to Add and
then do translucent, you could add this node bots. We can also do it with the subsurface inside
the principal shader. If you put it all over to one, make sure by the
way that you have your random viewport shading on. There, you can see
a huge difference. But there are a few things
that we have to change. First of all, this cloth or the fabric needs some thickness. Let me show you
what happens when I just add a solidify modifier. So go to the modifier
properties and add a solidify modifier insulin. You can see that it
looks way more realistic and now it actually is
doing what we want. So let's put this a
bit thinner though. So maybe 0.001. And now we can edit our
subsurface in multiple ways. First of all, we have
this value here, so it is still from 0 to one. We have this subsurface radius. The subsurface
radius has 10.20.1. These are RGB values, red, green, and blue. In this case, or whenever
you have a principal shader, it is automatically set
to a high red value. That is because the
subsurface is often used for rendering
characters and humans. Because we have
blood in our veins. You can see that once the sun hits from the
back on any of our skin, which may be as a bit thinner. So in-between the fingers
or the air, you can see it. We have a reddish tint. That is essentially what
the subsurface does. The curtain, of
course, doesn't have any veins or any blood. So we don't need
to make this rat. Once we're actually
gonna do, we're gonna make these numbers the same. So if you have 11 one, then it is essentially
just white. And this is great. We can change the subsurface though because this
is a bit too bright. The problem is, as you can see, I don't really have a
lot of leeway here. 0.03 is almost the same as one. So how do I change this? How can I make this a little bit more efficient
for me to work with? Well, we can essentially put
all of these a bit lower, maybe 0.1, make sure they
are all the same value. Now we have a little bit
more room to play around in. Even if this is too big, you can make it even
smaller. So 0.01. Now you can see that 0 is of course all the way blacked out. But then it goes
slowly into having more translucency instead
of having it already at 0.3, do a low amount. We don't want this to be
too much in this case, no amount is fine. We have a subsurface color. So right now the light that shines through will
be just white. In this case, we are using this color though it's
like the blue color. So we can just grab
this color from the texture node and then drag it into the
subsurface color. Now it will also
have a bluish tint in this color, which is perfect. What does this look
like when we render it? Let's just do a
little pre-render. Here we can see the
result of our pre-render. We have a little
bit of translucency and we have a decent material. Quite cool, right? The thing is, if we look
at curtains in real life, we can also see that a
lot of times the sides or the bottom are
folded and then they are glued or Sue together. So to create an even
more realistic material, we could also fake that. I'm going to put the
translucency or the subsurface a little bit higher
just so we can see the effect a little bit better. I'm gonna put it on 0.038. What we have to do is we have
to create a new material. So inside the material
properties click on plus, and we can select our curtain
and just duplicate this. Now it's curtain 0.001. You can do this maybe
curtain know translucency. And what we can do
here is we can put for this material just the
subsurface all the way off. Now, if we zoom
in on this model, go in edit mode and select the faces that we
want to be folded over. Showed this on top, maybe two, then this one on the sides. I'm also gonna do this
here on the sides. And in the bottom we can
also do like three or four. Then just assign them to the material with
no translucency. Now if we start to look inside the rendered
viewport shading, we can see that these
are being excluded. They don't have this
translucency kind of faking the extra
thickness that it has. That's quite cool. And we can of course
also mirror this. So if you just go to
Add Modifier mirror, Let's do another render. It is a little bit hard to see with the scholar of course, but what we can see down
here is that the error still as clear distinction
between these two colors. Awesome. If you have like a white one. And as you can see here, that has a little bit
more of an effect. That is all that I
wanted to show you guys in this particular video. But in the next video I will
show you ways to make it look more realistic or
different kinds of Curtis, maybe we want to pull
this a bit backwards, or maybe we wanted
to lay on the floor. I will show you some techniques there and I'll see
you guys there.
13. Curtains tips and tricks: In this video, I will show you some different techniques which
you can do with curtains. We can make it interactive, different kinds of correlations. We can pull it to the sides. I will also go over
maybe creating a little frame in the
back because of course a, according to Austin, just
hang out of nowhere. And I will also show
you a way to make the translucency even more interesting insight
of materials. Let's just start with
the correlations. If we have a very long kind of a curtain we wanted
to lay on a floor. Or it automatically will lay on the floor
if it's too long. And that is actually a
quite a cool effect, you can achieve it very easily. What you can do is you can do
it with the existing floor. And the only thing we have to do here is give
this a collision. Go to physics collision. Now when we start to animate it, you can see it will
go quite weird because our Gurdon in this case, it's too long and it already
starts colliding in it. Let's say we need to
animate this floor. This is the nth position
that the floor should be in. I'm just going to frame 60. Just for convenience, click on AI and then let's do
location rotation. Then frame 0 or frame one, I will go to the side view. And then I'm going to move it to the bottom and rotated
a little bit like this. Then click on AI
location rotation. So if we play this right now, you will see that it starts
slowly moving up and it actually will also
drag the curtain. Now it starts
dragging it forward, which is for three months. When you create this animation, you want to keep in mind that all of these animations
start now at the same time. The curtain might
not be all the way done animating yet
as you can see, it's still busy and then it's already starting to
touch the floor. So you might want to prolong
this animation a little bit. So just select them both. Click on G and then
make sure you move. It may be around frames
60 when the whole yeah, curtain is already formed. So now if we move it, you can see first the
garden gets formed. And after it has been formed and starts to lay down normally, now the normal or the floor
starts to collide with it and drags everything forward and also now ends up in
a nice position, which creates this very
nice laying curtain. Very nice. Also, I want you to
keep in mind you don't have to do floor hand. You can just create
an extra plane and you can hide the
spring from the renders. If you just go into the
plane which we just created, just hide from the renders. And it will still
collide with everything. You don't have to move
whichever floor you have. Now. That is quite nice
as you can see it. Let me show you
another collision. So I'm gonna delete this one
and this next collision. What we're gonna do here
is we're going to pull this curtain a little bit open. I'm going to go to frame 0
and move my garden a bit up. We have to see where
curtain starts, where the whole
animation starts. Then we're gonna create a torus. Let's go to the top
view, which is seven. And we're just going
to move the hair, makes sure it starts outside
of this beginning frame. You don't want to have it inside because then we get problems. You can scale this a
bit down, move it here. We want to go into edit mode. Let's go to wireframe as well. Select all of these vertices,
biome, delete them. Then select these
two edge loops. With Extrude. I can extrude them of course. And I also want to
scale this a bit up, but I want to scale it up around maybe the median
points like this. And then we can always go into individual origins and scale them a bit down
so they're not too big. This is a little bit
of an easier shape for this glove to catch everything. I'm going to move
the bit down and we can give this a
coalition as well. What will happen now? If I start to
animate this around, we can just do the same frame. I think in this case, frame one location only. Then I will go to
the front view. Our cloth will end up
somewhere here, right? So we might want to put this
maybe all the way over here, so they'll actually
be pulled back and then click on AI location. If we animate this now, you can see that first of all, the cloth just
animated self rights. But now this new correlation
will actually pull it back. We need to wait a
little bit and here it starts to pull it
back quite nicely. You can pull it back to
however far you want. Of course, in this case
we chose this width, but you can go way further. It looks even better. You can see that
works also amazingly. It's very easy to create. More interesting
looking curtains than just a hanging one. Let me show you a simple way to also create something
in the back. So a kind of real, it can be very simple. If you just create
a nice cylinder. Then we can move this
around the y-axis here, scaled a bit down, and then rotate it
around the y-axis, make a bit longer,
something like this. Now I like to grab the middle, so create an absolute there, and then delete this other side just so I can mirror everything. I love mirror modifiers
if we mirror this. And of course also
apply the rotation, the mirror actually
works around the x-axis. Now I can grab here
and extra edge loop. Click OK, Control V to bevel it. Then I can just duplicate this. Click on P to separate
the selection. Now we have an, a
separate model, a Extrude scale shift X. Here. We can also make
this a bit bigger. So maybe scale
around the x-axis. I want to add a cylinder now, but I don't really want to
move my cylinder from here, so I'll just go to Edit Mode
a to select everything. Shift S cursor selected, just so my cursor
snaps here and then add a cylinder
again, scaled down. You can see of course that
I'll do this a bit more quick. I'm very used to
modeling right now. And I know not all of
you are used to it, but that's totally fine. You can see that these
are very basic things I just want to do with quick. So you get the
points here as well. I can just do this, select these faces and extrude them around the these X's here, bam, there you have a
little beginning points. You can just join
these together. So these two together then use a mirror modifier
around this model. It will also be on
the other sides. And right now you can very
easily just select this face, shift S curves to select it, and then start to
add some thoracis. In this case, you
can scale it down, rotate it around the y-axis. And these are gonna be the points where our curtain
is going to hang upon. Not occurred and
it's a bit far away. But often you want
to put them where these pinched parts come
together around here. Then let's make this a bit
smaller and move it down here. Duplicate it, rotate
a little piece. And then this will
kinda connect together. Just duplicate
this over and over for every single part here. Very easy. And that's kind
of how I do that. So of course, this skirt
needs to be a bit closer by, but because this one is not
animated yet and not applied, we cannot really do
that at this point. But I hope you guys can kind of see what this is going at. It's quite easy to take a fairly simple models to
create a decent frame. It is not that
important because half of it is going to
be hidden anyways. Let's last, I want
to show you that the translucency can
also be different. If we look at this image here, you can see that the garden itself is already translucent. But here are parts which
are even more translucent. And there are of course also our curtains which
are like this. They have like nice
and cute row shapes. We can also create
this by the way, it is actually very, very easy. You only need to go
to the material, make sure you select the
right material here. Then add an image texture. And this image texture just
needs a gray scale map. You can just go to any of the shapes that you want on top. Let's say I wanted to create this shape or half the shape. Just make sure it's black and
white as a set open image. Color space should
be non-color data. And what we want to do here, let me drag this a bit out. We want to drag this color
into the subsurface. Bam. Now you can see
that parts of it do have the subsurface
and parts of it don't. We can also edit this
still with a color ramp. Because now if we look at this, you can see that it's just
a black and white map, which essentially
is just a mask. We can edit this mask
with the color ramp. If I want it to be
less translucent, I will make it a
bit more towards the greater society that
will look like this. Maybe it's a bit too much, should be a bit darker. But you can see you have
a gradient in here. You can move up or down. You can still
change the gradient or the translucency of
the normal curtain. But I would probably do it here. So 0.01.01.01. Then if it's too much, you can change this white
to a more darker whites. Also change that. Of course, there's a lot of wiggle
room to play around with. But just choose whatever
you want if you want row says put roses in here. And of course you can also have a separate mapping
nodes for this. I just click on this. I'm texture map and click on Control T and these to pop up. And then we can
change the scale if avant, three-by-three. If you think that
looks a bit cooler. And those are the
techniques that I wanted to show you guys to
kind of upgrades your girdles student
next level because some extra collisions and maybe something extra
in the material. And of course,
having something on top really adds to the Realism. Do with it what you want to do. I would love to see
some renders if you guys are going to
create a fifth this, and otherwise, I'll see you
guys in the next video.
14. Internal springs + Pressure: In this video, we're gonna grab this cube which
has a few subdivisions. And we will look at the internal springs
and the pressure. So let's go into the front view. And if we don't have any
internal springs activate it, we essentially can display
this and you can see that it just falls down like
a sad little piece of cloth, which is what we would expect. We added a cloth modifier, but we don't have any
internal springs. What do internal springs do? Internal springs and pressure
are both for 3D models. And internal springs makes the mesh behave similarly
to a soft body. You can enable it, but just taking this
on internal springs. And if I now play it, you will be able to see
that it falls down. And because of this
internal springs, it says in its original shape. Right now we have our max
spring creation length at 0. This means there is
no length limits, so there isn't limitless length. But what does this mean? So the next spring
creation length is the maximum length an internal spring can
have during creation. If the distance between these internal points
is greater than this, no internal spring will be
created between these points. Well, a length of 0 means
there's no length limit. So if I put this up to one, there is a limit. If there is a distance of internal points
greater than this, the one, then no internal
springs will be created. So we will get this effect. There are less
internal springs being created with x like a soft body. I gotta be honest if
you have it at 0, not a lot happens even if you play around with
tension compression, all of this, because none of the internal
springs will be deleted. Soap off the internal springs
are active right now, then you always get this effect. So normally you wanted to put
this a little bit higher, at least higher than 0. Very cool. So let's
put this at five right now and see what
that difference is. Here. You can see that they
already stays together. Maybe three. Still stays together. What about to do? You're starting to
see the effect. The next setting that we have
is mx creation diversion. Max creation diversion is the maximum angle
that is allowed to use to connect the
internal points can diverge from
the vertex normal. There'll be honest, I also don't really know what they mean, but what you can see if you play this is that I need to
put it a bit lower here. Instead of staying
in a cubical shape. If I change this Mexican nation, that version to maybe
a lower degree, you will see that it
starts to pop out more. Now you can see that
it's not confined to the 45 degrees and
it will actually, I'm act more like
what we can see here. You have checked surface
normals and as you can see, required appoints
the internal springs connect to the opposite
side, normal direction. But normally we don't
really use this. And we have of
course, the tension, which is how much the
material resists stretching. And we have compression, that is how much the material
resists compression. So those things can
also be edited. And overall there's
nothing really elsewhere. You can have a vertex group. And of course the max
tension in Mexico impression are editable as well. If you put the
dentition very high, you can see that the max tension
innocently also goes up. Let's talk about the pressure. If we don't have any
pressure applied, you can see it just
happen to us before we have a little piece of
cloth that just falls down. However, if we add
some pressure, you can see that the
instantly starts to fill up a little bit if I
put this pressure higher, so let's say five, you can see that we
get the more pressure inside and it will fill
up with even more fluid. In this case, I like to see it as being filled up with air. You can also do minus. So if I do minus five, you will see that it
starts to implode. So maybe minus one
is a bit better, but it's kind of sucks
all the air out of it. We can use a volume as well. Normally there is
already a volume calculated for the
mesh that you have, but you could use a cost
of volume and then you can take this on and
change the target volume. Here we have a pressure scale. And the pressure scale is the ambient pressure that exists both on the inside and the
outside of the object. This balances out when the
volume matches the target. So if you increase the value, this allows the object to resist changes in volume more strongly, if you decrease it, then it will be less. We also have a fluid density. All of this pressure
as we talked about, I like to see it as air, but you can also do
fluids and every fluids. So gas or water has
its own density. You can change
this density here. Normally they say, if
you put this to one, it is water, but this
never worked for me. If I put this at one, it
just crashes as you can see, it just I don't even
know where it is now. But what you can see if you
put this value with higher, we do get different effects. So let me restart this. And here you can see that
we get a different effect. And we can also use
vertex groups to control which portion of the
mesh we apply pressure to. That is the vertex groups. You have to be careful though. If you have, let's say, a hole in your mesh. Let's say I don't have
this part of the mesh. Then if you have pressure, so let's put five. And if we play this, you can see that pressure
will escape out of the mesh holds and will cause drifting or propulsion forces. If you want to avoid this, you should use the
vertex groups. But even there I see sometimes this happening, but
it's actually cool, right? So we can even animate something having a hole in it
and then flowing away. Very, very cool. Those are all of the settings for pressure and the
internal springs. These are both very handy for 3D models as you might
have already seen. And that's essentially it. Now that you know the internal
springs and pressure, we can actually work on
some 3D cloth models. Very excited. I see you
guys in the next parts.
15. Exercise pillows: Welcome to this video. In the last video, you have learned
how to work with the pressure and
internal springs. So now we actually have an
exercise with the pressure. I personally use
the pressure way more than the internal springs. So that is why we're going
to focus on that right now. It seems way more applicable, especially for
architectural rendering and creating realistic
cloth materials. As you can see, we have
this little scene here. And you guys probably
already remember this scene. We created the cloth or the blanket that
fell on top of here. And as you can see, this blanket looks a bit different than my
other blankets. That is because I'm creating more and more
materials the longer I'm working on
this little class. And all of these materials
are up for download. So you guys can literally just choose which one
you want to use. This is what we made in one
of the first exercises. But once we want to add
now is some pillows. And if we look at the
normal pillow shape, it's very easily just
a very simple plane. We need a 3D model. So this plane is not going
to be just a singular plane. This plane we can edit, we can already create
some more geometry. So maybe stop the fight at four or five times and then
extrude it around the z-axis. The thing is we don't want
this extra little part here. I'm going to merge
these together. So I'm going to scale around the z-axis so there are a
bit close to each other, then click on F3,
and now we can type, so I can just type
merch by distance. You could have also done em. And then it also says
here by distance. But sometimes I don't
remember all the shortcuts. So the F3 is quite
handy for that. Now, often are merged together. And here we have our
normal shape that we need. And we can use the
pressure with this. So let's go get everything back. I want my plane, which is going to be the pillow. So we could also
rename this to below. Here. I'm going to make another
collection as well, just so this is not
all in the way, so below collection better goes in here and
I can hide this. So the pillows, of course too
big so we can scale the bid down somewhere
around here and then click on Control a
to apply the scale. Now, we need to, of course, add a cloth physics to this. And what you will see
is that it will of course fall down instantly. And once it falls down, we have a huge gap in here. And that is because
we need to go to the collisions and make this
distance a bit smaller. Let's actually make
it quite small. So 0.01 should be fine. And now you can see that the
false really nice in there. And what we want to
do here is we want, of course some pressure. So let's go to pressure,
make sure it is own. And I think five should
be fine for right now. Let's play this again. Bam. This is okay. I do think the pressure
should be higher, so we could do it maybe seven. Let's see what that does. As you can see,
you can even edit this pressure while
we are playing. So right now I'm
already at a frame 36. If I put it higher
now it will update, as you can see, Very cool. This also means we've
inserted keyframes. You could also inflate
and deflate your models. Maybe there's not even
enough. So let's do 15. And here we're starting to
get towards a normal shape. We can always edit this and it's totally dependent on
the size of your model, but also the amount of vertices. Because right now we do not
really have enough geometry, so it actually looks decent. What we want to do is create
a sub deficient surface. Put this above the curve
modifier and make sure the levels viewports
should be like two for a decent quality. Now, what we can see is that it doesn't
even form anymore. Why is this? This is because if we go back
into our growth modifier, we can see that the vertex mass here is a mass for each vertex. We now have subdivided
it two more times that are way
more vertices around. And f refer to see
ways a certain weight. We can put this skill also down. So maybe it's 0.01 and
see what that does. You can do this in two ways. You can put this down or puts
the pressure. Either hire. Both ways are okay. But I think putting
this down is easier. You can see however, that
is getting quite slow now. There's no really
getting around there. You just need a better PC. But if you do Shade Smooth, you get a decent result here. Very, very cool. So now what? Well, if you go to frame 0, you can move your
model still around. We can move the rounds. And maybe I want a
nice pillow here. Make sure that your couch actually has a correlation
applied to it. Mine already does. Now if we play this, you can see that it
will start and fall right nicely into this place. If it slides too much,
which could happen. You could go into the correlation modifier of the couch and put the
friction a bit higher bots, you have to remember
that we only need one frame of this model. If frame 35, so K, and then it starts to slide. Who cares? I'm
just going to grab a frame 35 and use that. Now, if you're African problems
here, what we can see, then you can always go into
the cloth quality steps. You can put this higher, but you can also see
that this is probably going inside of itself. So in that case, you could always put
the self collision on. But in this case I do
not recommend it just because it makes sure
simulation waste slower. So probably the quality steps is probably going to
fix that problem. Here. We have a fairy,
fairly decent results. All right, awesome. So if you're happy with your
current state of your model, I would highly suggest
thinking about, do I want more pillows? Because you don't really
want to redo this. You can just duplicate it now. Go to frame 0, and then just
move this below bit around. You can even use it later as we can hide it for right now. This one, we can
have them move here. Then let's say I like this. If you like the current
state of your model, which mine is to
follow a bit more down here, it looks quite cool. Then what you do is go into
the modifier properties. Apply first the SAP
deficient surface and then the cloth
modifier in that order. Here we have a quite
decent results. If you go into edit mode, you can see that we have this edge loop here
in the middle. And with Alt S, we
can scale this down. We want to do this because now we have a little seam here. It's very nice so we can
scale it down even more. And Alt S is very handy because alt S doesn't
just scale down. It's kind of inflates it
instead of scaling it. That's why we use
Alt S in this case. This is already UV unwrapped. You could do it
again if you want to go and then you will place your UV seam directly here
where you just created these. Yes, seems right. So it will be this actually
appear in the middle. We don't have to do
that in this case. So let's go to the shading. And in the rendered
viewport shading, we can look a bit closer here to our beautiful little pillow and we can create
a new material. This is going to be
the pillow material. And just select the principled
shader Control Shift T and search for material. So this green one is quite nice. You can do the color, normal roughness,
and the specular. Click on principle
texture setup. And here we have a material. I would like to scale
this up by maybe three around the
x and the y axis. And that is essentially it. Now, we can also put the xin
a bit up if you'd like to. And here we can see that we
get a fairly nice result. And of course you're
always able to add extra soft efficients
if you please. So this next below,
for instance, we could do exactly the same. So do we like the place where it is going to rotate
it a bit more? Here, play it. And if you want this bill to
interact with this below, you need to make sure that
this has a correlation. But right now I'm just
gonna avoid that. Tried that they don't really
interact with each other. And around here seems
to be quite cool. Let's say I wanted here, then apply again just
a subsurface modifier than the cloth modifier. We're going to grab
the same material and then just duplicate it. And we can actually, we should delete
all of this anyway. So you could have also
created a new material. It's selected principle shader, Control Shift, and then
select the other material. You don't have to
do this, but I'm just showing you how easy this is if you just duplicate
a certain model, because we don't really need
to redo everything anymore. This is literary minutes work. This one could be a
scale of three as well. Three-by-three seems
to work quite well. And here we have our
beautiful little pillows. And that is essentially how we create these
amazing leukopenia. And you can see that a blanket, some pillows can really brighten up a quite boring
model in this case, which is of course the couch. I hope you guys learned
a lot about this and I'll see you guys
in the next video.
16. Cloth brush: In this video, you're going to learn everything
it needs know about the cloth brush inside sculpting
mode in sub blender. So why do we need
the cloth brush? Well, if you want high detailed and very small little
wrinkles on your models, it is very hard to
achieve that result with just the cloth
physics inside Blender. This is why once you have credit and
decently looking model, so let's say a pillow, which we also have an
exercise later on form. Then you want to first
do the cloth physics and then go over it with the cloth brush to create
some nice detailed, smaller wrinkles or even
just more wrinkles. So what is the cloth brush? Essentially, the
craft brush creates a smallest assimilation
at a localized space. There are a lot of
different options here, and I will go for the
most important ones. So if you guys, to
understand these ones here, you kind of have to understand just normal brushes as well. Because these options
will be all the same. If we look at the normal brush, you can see that we have
two little circles here, an outer one and the inner one. If I draw on here, you can see that we get this result which
is showcased here. This has a radius, radius unit and
everything underneath. That is how a
normal brush works. If look at the cloth brush, you can see that we
have four circles. We have these orange
ones in the middle, and we have these
outer two ones. So these orange ones are whatever the normal
brushes are as well. If I put this radius a bit up, you can see that they
both got scaled up. The outer circle is the radius. The strength changes wherever
it is, middle circle is. So those are these two options. Let's go back to
this cloth brush and let's talk about
these outer two circles. These circles are essentially
where the simulation stops. So as I said before, if we just drag here, you can see that a cloth
simulation starts. Now, if I keep going
around the sides, you can see now that at those points is essentially
where the simulation stops. You can really see a defines
a line where it stops. The little dotted line
is the following. And you can change
these down here. If I want a bigger
simulation limit, you can see that I can
scale it up right there. If I wanted smaller, you
can make it smaller. You also have here, which let's make the
textbook bigger. The simulation follow-up. So this is the falloff, which is this dotted
little lines. So if I make that smaller, you can see that now the follow-up starts
already around there. Very cool. And that is essentially
why there are four circles instead of
2 fifth normal brushes. But let's go over
these options here. First, I will showcase
these with a normal brush. The radius, as you already
know, changes the radius. We have a radius unit as few. So if I look here, whenever I scroll out, you can see that my brush stays the same size
depending on my few. If I do scene, however, it will stay the size
relative to the scene. So as you can see, it stays always the same size
relative to the scene. This could be very handy, okay? So make sure you know the
difference between them. There are also have a different
radius instead of pixels, it is showcased as meters. It's a different unit. The strength we also talked
about is quite important. If you want less strength,
you just put lower. You can see that the most, maybe even too low. If you want more
strongly put it higher. Normally you keep the strength
at quite a low setting, but that is also dependent
on whatever you use. The next thing is
add or subtract. You do not have this
at the cloth brush, but whenever you add something, you can see that it goes on top. If you subtract,
it goes inwards. It is add and subtract there. You can, however, also
do this with control. So if I just click and drag, you can see that
now it adds clay. But if I hold Control and drag, you see that it's abstracts. That's a little short key
which is very handy to use. We also have a normal radius. And the normal radius I
need to showcase on a cube. Normal radius essentially
takes the average of multiple normals and this influences the
brushes orientation. What does this mean? Well, when we have a
low normal radius, we can see that if I
draw here on the sides, this here gets affected, but here on the sides which
have different normals, it's not the fact that
n Just as drawn up. If I, however, have a
very high normal radius, you can see that if I drag here, we also do the side
get clay added. So for a higher value, you get a smoother version. If you have low values, you keep contours intact. So here you can keep
the contours intact. And if you have with higher, you get a more smooth result. We also have hardness. Hardness influences how close the brush falloff starts
to the edge of the brush. So right now the hardest is 0. So we don't really
like our follow-up will start very early on. But if I have it
all the way to one, you can see that there's almost no follow-up, just
instantaneous. So that's the hardness. And we have outer smooth. The outer smooth. We can look at layer. If I have the outer smooth at 0, you can kind of see
what is happening here. But if I put out, out smooth all the way on and
do this again, you can see that we get a
way more smooth result here. That is the difference
between null out, smooth out, smooth. Let's take a look
at our cloth brush. With the cloth brush, a lot of this is not
really necessary. Of course, the
radius, the strength. Your radius unit
could be quite handy. But normally I don't
really play around with the normal radius too
much or hardness et al, also out of smooth, I have not played
around with yet. These say often the same, but these here changed a lot. Now we also have persistent. The cloth has a persistent, but it's better to showcase
it with the layer brush. If you take on persistent and make this our persistent base, so set persistent base. You can see that if
I do more strokes, it doesn't matter how
many strokes I do now, I just keep clicking
and dragging. It will stay at a
persistent height. However, if I turn this off, you can see that if I
just click and drag, click and drag, that the
height will be changed. We don't have a
persistent height. You could add a new height with the persistent
base as well. If you have a persistent
set persistent base, here, you can see that
I click and drag. And if you add a new
persistent base to this, you can again do this. And now if I keep dragging, nothing will change
again, right? So there's a new
persistent base sets that is persistent base and it works the same
with the cloth. It's just a bit harder
to see what happens. We have to cloth brush is
essentially that if I shut my persistence and just start moving this around to
however much I want, it doesn't really do extrema
height differences anymore. But if we go back here
and I turned this off, you can see that
if I start moving this around and
around and around, it gives us a very extreme
results that is persistent. And this could be very
handy By the way. Now, we have our simulation
area, which is local. If you look at these
outer circles, if I click and drag, these circles will
stay at the same spot. So we can really see
where a cutoff point is that is local. You can put it to global and global essentially
means everything. So this goopy handy
bought it takes a lot of computing power because you're literally simulating everything. We also have dynamic. Dynamic is local, but these circles will
move with your brush. So I'm not confined to just that little circle here
because if I move here, you can see that it
just moves with you. That is essentially the
difference between these. Local is the most
efficient for your PC, then dynamic and global. As last, we have
simulation limit, which we already talked about. We can make the
simulation larger. As you can see that the, both
the circles become larger. You can make it
smaller or bigger. And also this little dotted line in there, that is the following. You can also change that. Let's talk about
the deformations. The first one is drag. Drag simulates pulling the
cloth closer to the cursor. Similar to placing a finger on a tablecloth and pulling it. We have push, push assimilates, pushing the cloth
away from the cursor, similar to placing a finger on the tablecloth
and pushing down. You can see here we
have pinch point. Pinch point simulates
fooling the cloth into 1. Like pinching with two fingers. We have pinch perpendicular. Finch perpendicular
simulates pulling the cloth into a line. We have inflate. Inflate simulates
air being blown on the cloth so that
the cloth lifts up, grab, grab stimulates picking
up and move into cloth. Expand, expand simulates
stretching the cloth out. We have snake hook in the last. Snake hook simulates moving across without producing
any artifacts. This creates more
natural looking faults than any other
deformation modes. Let's go back to drag. And I'm going to show you
the difference follow-ups. So radial, as you will see, applies the forces as a sphere, which might even be better
seen as inflate here. It is added as a sphere. We also have plain riff playing. You can see whenever I drag, we get these arrows coming up. With playing. The forces
are applied as a plane. We also have cloth mass, and that is essentially the mass of each simulation particle. You can put it higher or lower. We have the cloth damping. That is how much
the applied forces are proper graded
through the cloth. That does what
damping always does. Just also if particles, we have soft body plasticity. And that makes sure
that the cloth preserves its original shape, acting more as a soft body, we have enabled collisions. Very handy. If you
have a collision, it will still collide
with it even if you're simulating it
in the sculpting mode. So quite handy. Furthermore, we have
some more options, but most of these are
not that important. As you might know.
A lot of times you only use 20% of any tool. Of course, there will
be once in a rare case, that you might use
something here. But overall, this is kind of the importance of
our cloth brush. And if anything comes up in these tutorials are of course, explain whatever we're doing. But most of these
are also showcased in any other of
these brush options. That is the cloth brush. I see you guys in
the next video.
17. Face sets and how to create a realistic cloth mesh: In this video, I'm going to teach you guys about phase sets. You will learn what they
are and also how we can use them with the cloth
physics in mind. If we look at a pillow, then we can see
that two pieces of cloth has been sewn
together in the middle. The one thing that I
want you to notice is that the wrinkles
here on the top part of this pillow have a different trajectory then
their wrinkles on the bottom. They don't just continue
through this seam. And that is one thing that we
can create with phase sets. Let's create a pillow. I'm just going to scale it
around the x-axis and y. Then create some
extra edge loops. Make sure they're nice
and square these phases. Then we can always actually
let me do this as well. Yes, then we can always as
extra subdivisions if needed. I would like to apply
my scale as well. I'm going a bit quick through this because I wanted to
showcase to face a sets. But you guys can
always follow me. Let's also select all of
these edges around so we can create a nice
UVC him later on. Here, Control E mark scheme, then a U and unwrap. If you want to, you or UV, you can see it in the UV edit. These are our UVs here. But let's go back to Layout. Make sure you have a
timeline up and create a cloth physics that's put the quality steps
to seven pressure. I would like to put a five. And if we play this, you can, of course see that
it will fall down. So let's go to filter weights
and put the graph t at 0. So let's do this again. And here you can see that
it gets nice created. So what do we want to do here? Let's just save this as a cache. So let's do like a 100
frames and bake this. Then we will look for
an appropriate frame. So let's look for
a frame which has some decent shapes in it. It's okay if it's
a bit too bulbous outside because we can
always scale it inwards. But let's say around the
frame 35, I like it. Then I go to my modifiers and
apply this cloth modifier. Right-click Shade Smooth. And here we have
a decent results. So now I can show you guys
how to use phase sets. Let's go to sculpting. Sculpting, you can scroll down and look for the
draw phase sets. Every time I draw right now, I cannot create a
different color. And these are essentially
masks off parts. So you can see them as masks. You can hide these masks. If you hover your cursor above
a color, then click on H. You can just focus on
one single piece here, H again, and everything
will be unhidden. You can do this for
every single color. We can also expand
the color by again, hovering your cursor above
the color that you want. Then hold Control and
then just click and drag. You can expand the color. The thing is, we want
different masks or face sets for every single
piece of cloth here. And the way that you can do this easily instead of trying
to create it like this, is go to Phase set, initialized phase sets, and
use any of these options. In our case, we already
created our UV seams. So let's click on that. Now our UV seams are created and we have a different phase set
for every single part here, which is very, very powerful. Let's look at just
a random brush. If I use the in-phase brush
and go to add fenced, you can do this by the way
in every single brush, but you need to go to Advanced
and select Face sets. Now, our auto masking is
set at phase sets were essentially if I click on the yellow and drag
wherever I want it, you can see that only
yellow will interact with me because the other
ones are masked off. If I just click and drag on
this blue, only blue go. So it essentially whichever
color you select, that one will be your
active color, Let's say. Now, There's also an option here which is called
Face Set boundary. And that essentially is the line in-between
colors of phase sets. Now it masks off
those boundaries. And if I have instill
my inflate brush here, make the radius a bit bigger. You can see if I inflate this, these corners are, these
edges will stay in place. So in this case you
can kind of make a puffy little looking pillow. Also that could be very handy. It automatically
creates kind of seems. So how do we make in this case, the pillow more realistic? But of course, these
techniques you can use. Any kind of Croft material. Let's go to phase sets and
then do face us from UV seams. As you can see like we
went as few steps back. I just wanted to explain
to you what phase sets do. Now, I like to go
into the cloth brush. Here on a cloth brush, we can just play
around with R below. One very important
thing that you always have to do
when creating models. So it doesn't matter which
model you are creating, but it's looking at reference images with the
references that you have. You can see what these
wrinkles inside the cloth do. Let's say this main shape
is already, you know, corresponding with the
shape of your reference. Now I want you to
look at the reference and go to smaller shapes, which could be this
small little wrinkles. This small little
wrinkles can be easily created with the cloth brush. The cloth brush I like to use, maybe at first and
nice inflate brush. This brush can imitate some of these bumps that
you can get in here just so it does not
all too smooth. So I'll put the radius op, and put a few bumps in here. Very like you don't even want to notice them too
much, but a little bit. Right now our brush
stroke is set at space. This stroke method
requires you to move around and it doesn't
really stay on spot. But if you change
this to airbrush, now it will just
simulate an airbrushed. If you click and drag, it will just spray
in the middle. Of course, we need to put
the strength a bit down 0.1 maybe to create very
small of these details. You don't want them
to be too noticeable, but very small details just to break this up a little bit. This can also be very
handy if you work with multiple pillows because if you have multiple pillars
that are duplicated, that you want some
differences in them, otherwise they all look the same and that's not
really what we want. If this kind of way you can simulate a more of a bumpy look. Which also happens to
realize by the way, but that depends on what kind of material is inside of
the below, of course. Then the next thing is
using just the drag tool. With this drag tool, I like to think about these wrinkles here that I
wanted to go horizontally. Makes sure this brush, so the drag brush has actually not the stroke
method airbrush, but you should have the
stroke method space again or dots. I can just click and drag to the side and you can see that more of them will be formed. Click and drag, click and drag. The cool thing is that the
effect here I read alike, but in the middle, it doesn't really
seem realistic. These wrinkles go too far, but we can easily fix this. If you hold Shift, you essentially just temporarily
select the smooth brush, which is this brush. This brush smooths
everything out so you can just click and drag
and smooth this out. We've shift it doesn't
automatically. If you, however, I want to change some settings
from the smooth, if maybe the smoothest, a bit too strong for you, you can go to the smooth
brush, change the strength. So strength at 0.3 whatever. And then whenever I am just in a cloth brush and then
hold Shift still, the strength will be at 0.3. So that is one thing
that you also can do. Here. You can see that now we have
very more wrinkles them before and they're actually
starting to look good. Of course also the amount
of soft efficients matter. If I use a multi-resolution, then I can simplify this. And I can either go up and
down in my sculpting level. This of course, takes
a bit longer to load, especially when we
use the cloth brush, but it could be quite handy
for more intricate details. We also talked about the that
fans setting phase sets. Because we have phase sets, we can have different wrinkles
in every single color. That is also something
that I really like to do. It's just whichever
color you select, that color will be indirect. You can interact
with that color. So if I do maybe a bit
higher strength here, 0.3, you can see it now
I'm interacting with blue. So here we can see
that some detail can easily be created with
these techniques. I hope you guys
learned from this. And now you know how to create
realistic luca materials, but also realistic cloth. Because the cloth simulation gives us already cool effects. But sometimes the
wrinkles that we get from assimilation don't really match up
with the wrinkles that we see in our
reference images. In this way, you can create higher-quality Luke and cloth. So that's it for this video. I'll see you guys
in the next one.
18. Cloth filter brush: Let's take a quick look at the cloth filter brush
inside sculpting mode. If we have a cube here, we could add a few
extra soft efficient than Shade Smooth
and go to sculpting. Inside sculpting,
if you scroll down, you can see our
normal cloth brush, which we already talked about, but we also have
our cloth filter. The cloth filter brush is essentially the same
as the craft brush, but in this case, it just simulates the cloth
inside sculpting mode bots, it does it for every
single vertices. It is not localized. Let's say you can of course PIN, use masks or even face sets to kind of separate these parts. But it is essentially for
every single vertices. Also the filter types
are quite different. Right now we can
inflate and expand, which is more for a kind of 3D models instead of a 2D cloth. If we have our
filter type gravity, if I click and drag
away, it'll fall down. If I click and drag
to watch my model, it goes the opposite way. So click and drag away from
your model is positive. Click and go to watch your
model is the negative value. Now, we have gravity. Of course, this is not
following on something, so it will not really
interact as a cloth. It has no collision. You can use collisions, just create a collision, take on US collisions, and that will work in this
case in my version it crashes. So I'm not gonna try that. But we can look at
these other types. Inflate. We of course,
encourage your model. If I click and drag away, you can see that it inflates. If I click and go
towards my model, it does the negative
of the inflation. We also have expand, which expands the
cloths dimensions. Here, the negative
version and a positive. Then we have pinch, this, pinch it towards wherever
you start with clicking. If I click here and
start dragging, it will go towards that points. If I click and drag away, it will, of course do
the negative of that. It will be pinched away, but that doesn't
really make sense. And of course we have our scale. This skills, the mesh
essay, soft body. Also very cool. You guys already know
what the strength, thus, the force x could be a
handy if you, for instance, won't don't want the clock
to go around the z-axis. So you can exclude the z. Then you can see here
that it will only scale, in this case around
the x and y-axis. Also very fun. Play around with we
have our orientation. The orientation may I
blend the kind of knows which orientation it wants to
claw filled through, go at, let's say in this
world orientation, if I use gravity and
then let it fall down, it will go around the z
axis inside the road. But if I use view
and look from here, you will see that if I
click and drag away, it will not go down
around the z axis. It will actually go around
to set excess of my few, which in this case is
now this way, right? So that is a little
bit different. It could also be handy, but normally local should be fine. We have a cloth mask
and craft damping. We already know these. And here you can also use phase sets or use collisions if you want
to work with them. These other settings are
not really particular to describe filter itself and don't really need
any explanation. Now that you know a little
bit about the crop filter, we can actually do
a little exercise and I'll see you guys there.
19. Exercise Cloth filter Chesterfield: In this video, we are going over some ways in which you can
use the cloth filter brush. There are of course thousands
of ways to actually use it. But I personally think
these techniques are quite fun to do. A could see the potential
it has as well. We're going to create
this Chesterfield effect that you can see here. We are going to create
a nice little poof. In the first method, we will use some masks, and in the second method we
will use some phase sets. Let's go into Blender and let's
delete this default cube. We can add a nice plane and
add some extra subdivisions. We can add, yeah,
a nice density. Maybe you have around
4 thousand vertices. If you cannot see this
option is just to right-click and make sure
the scene statistics are on. Now, we go to sculpting mode. And inside sculpting mode, I want you to click on M. This is our masking tool. If I draw on this model, you can see that
this gets masked. So if the strength is one, we essentially exclude
this from our sculpting. If it's 0, it will
be included about anywhere in-between is kind of an average in-between them. As you can see what a color. If I say, let's say
if I have high here, then if I use my cloth filter, what we can see with
this gravity is that everything will just fall
down except the H and the Y. With the Scofield. You can kind see it
even as a little pin. We are kind of painting
this in place. But you can also see if you just need to create a
very quick cloth. You could even do it just
with the cloth filter and not even use any cloth physics. But let's click on
controls that a few times. And if you can't get rid
of this one, for instance, there is always a lot of masking options inside
the sculpting mode. You can always clear mask. Now go to the top
view which is seven. Make sure you're
masking brush is selected. Just click on M. And here I want to put
my radius a little bit up and makes sure that x and the y of the
symmetry are turned on. Now if I click on here, you can see it will
be symmetrized and every single corner will
have this nice mask on it. The radius should be
maybe at like 80 or 90. And I want to draw here in this corner, maybe a bit bigger. When you've thrown
in the corner. You can also draw
here in the middle. So around here. And this is essentially going to be one singular
Chesterfield Ps, which we can array
over and over again. Let's go to the
cloth filter brush. We will just use the
inflate filter type. And I personally like to put the strength a bit
lower, so maybe 0.3. Now if we just click on this model and drag
it to the outwards, you can see that we create
this very cool effect. Make sure you don't go too far outwards because then
these edges will go to much inwards and we
cannot be fixed this anymore inside the
modelling or edit mode. But a little bit is okay, as long as we get some nice
wrinkles in here, right? So this already looks good. I couldn't go from bit further. But this is starting to
look quite, quite cool. If you're happy with it, go through your layout again and right-click
Shade Smooth. To array this, we of course need to use
an arrow modifier. This area modifiers
now set at the x-axis, but you can see an obvious
little gap in here. Also if we add an other one, and this one will
set the x-axis at 0, but the y-axis at one. You can see that if it, if it gets arrayed
around the y-axis, we also get this gap. This gap is because we did this animation of course
are the simulation. The thing is we can
fix this easily, go inside the edit mode, select the vertices which
are kind of in the middle. You can see that if
you look at these access to this one is
matched up if the y-axis, this one in the bottom as well, and then here the
x-axis as well. Now what you want
to do is make sure you are proportional
editing is on again. And now we can scale this up. If you scale it up, instead of only these
vertices being scaled. The whole proportion of
adding two to actually make sure more of these vertices
will move with it. So it's a very
smooth scaling tool. Now, you want to scale this up. If you have a very small brush or if you scroll down a lot, you can see that
your share code is gray circle becomes quite small. In this case, only a few
vertices will transform. Now if you make this bigger, so just keep scrolling. Then more and more
vertices will actually be included into
this yes selection. We want to have it flat, but it doesn't have
to be perfect. It's okay to have
some of these gaps because we can fix
these gaps very easily. One way to fix these gaps, make sure your proportion
edits into is off. Select this whole edge loop and then scaled around
the y-axis for 0. So this makes it nice and flat. The problem is this
vertex here or well, these vertices, we know that all of them have
been masked off. So this is kind of
a perfect unit. It's a blender because
we just added a plane. And I want to keep
that measurement. If I wanted to scale everything, not just on effort, because if I do scale y is 0. You can see that these
vertices also jumped down. But if I want to scale
them around this vertex, I would have to make sure that
my transform pivot points here is set at active elements. Then make sure this vertex
is two if elements. You can see that
when it's white, the last selected vertex
that you have is y. So you can just deselect and
select something, right? So you can see that
they become white. Now if you scale around
the y-axis for 0, everything will be scaled
around this location. Now it's perfectly flat. Of course they don't match
up yet because this bottom one is also still kind of wonky. We can do the same here. Select this whole edge
loop if Alt select, and then with Shift select, I'm just going to
de-select and select this one just so it
is nice and white, which is the active elements. Then scale y 0 and then Enter. Now we can see that it is perfectly centered
in the middle. We can do the same for these
ones here around the x-axis. So this whole edge
loop in this case, then this vertex
is last scale x 0. Enter. Do the same here. This whole edge loop. This one is last
scale, x 0, Enter. And now everything
is nice and flat. Perfect. The only thing you need to
do now is make sure you merge both of these
arrays together. Because you can see that when they are
not merged in here, let me show you that these vertices don't really
match up perfectly anymore. And that's totally fine. But if you merge them, they get nicer matched up. And we don't have any
problems anymore. Right-click Shade Smooth
if you haven't done so. This is essentially it. So we can use as many
areas as we want. We can create a couch of this. So this is the first
kind of thing that I instantly saw that was like, whoa, this is kind of
cool that we can create. This kind of look
very easily with just some masks and one brush. That is the first exercise
of cloth filter brush. I see you guys in
the next video.
20. Exercise Cloth filter Pouf: Right now, I will show you a way to create a cool little poof. So if you click on Shift
a and add an ecosphere, we have these cool shapes. And the cool thing about the cloth filter is that you
can keep the shapes intact. I'll actually show
you how to do this. So skill z, to make
this a bit smaller, so we can actually have
more of a poof shape, contrary to apply the skill. And now select
everything with a, then shift E and H crease them
all the way at vector one. Now I want to use a subdivision surface levels viewport one is fine
and then apply this. I did this because now I can select these edges
by themselves again. So it is a little bit annoying, but just Shift E again, then do minus one. So everything is these selected? Go to Select, select sharp edges and put
the sharpness at 1%. And now all of the edges
that we've selected before are essentially
sect that again, this seems like a
domino, it'll step. But if we want this nice and
smooth as you can see here. So if I put this a few ports
up to four and apply this, what you can see is
that these edges are, these vertices are still selected an auto acids
just very hard to do. You have to select
them all by hand. And that's just something
that I don't want to do. That is why I did that
extra little step. The more vertices, the better bought it does get
microcomputer a bit slow. So I might add one more
level of Viewport here, one more self-sufficient
and depth might do it. Then click on Control Plus
to expand the selection. Then go to sculpting. The cool thing about
phase sets is, is that we can face set from edit mode selection
or selection, which is an added modes, will now become phase sets. You just have to select
your cloth filter, make sure use phase
sets its own. And now we can
start playing with the inflate tool and all of these audit
tools that we have. I personally like to first
scale the face that's down. So if you scale the color here, this pink a bit down
and then go into the inflate and inflate
these gray parts. I personally think that
is quite cool to do. You can also do some expanding. Then debt in unison with inflate will essentially create a few more of those wrinkles. But you have to play a bit around with all of these tools. Also the strength
IF ID that's 0.3, and you could even play
around with the cloth masks. Let's go a few steps back. If I put the cloth mass
at maybe point to that, in a lot of cases works better
than a higher Croft mass. You have to just play
around with this. But we have our trusty
control sat, right? So if anything goes wrong, just click Control sets and
everything will be right. Again, this is actually a quite a cool effect
that I have here. I like what we have. And you can just go to Layout and here is
your little poof. And as you can see, some decent ladder materials can make these models look very, very nice and realistic. Even this one has quite nice leather
material on top of here. And that is
essentially everything that we need to create. A little poof or even
a part of a couch. Let me actually show you how
to create these materials. To create the material
we just go to shading. Select the proof, click on New, rename this to poof or letter material,
whatever you want. Select the principle note, Control Shift T, and
then go to letter. And in this case we just used the diffuse specular
roughness and normal. You can import these and
see what this looks like. In this case it is set, the texture coordinate
is set at uv. In our UVs are kind of already created when we just imported
a normal ICP Austria. So we don't have
to recreate them. The only thing that is
wrong here is the scale. And we can put the scale up, so maybe ten by ten. And here we can see that
they have these results. Maybe even 1550 might
work better in this case. But as you can see now, if you go to the rendered
viewport shading, even inside the FE, it looks quite nice. That is it for this exercise.
21. Create clothes in blender: In this video, I'm going to
show you guys how to create clothing with a cloth
modifier inside Blender. There are of course, multiple
ways to create clothing. If you want to create belief
for clothing with sculpting, that is also a great technique to create believable clothing. But animating those, yeah, it has a kind of
a different path than animating
everything inside that. The cloth modifier. This whole class is about
the curve modifier. I have to be honest, blender is not the
best with clothing. If you really want to delve deeper into creating clothing, I would highly suggest look
at marvelous designer. That program is really
focused on the seams that you can create and you can use different patterns,
combine them together. But of course, I want
to showcase you guys how to do this inside Blender. So the first way, which is maybe the
simplest way and also can guarantee
some decent results. You can even use
the soft efficient surface modifier
in this technique. It's just creating a full
clothing without any seams. We don't really need
to use any suing. We don't need to sue
anything together. And in the next
video, I'll actually show you how to use
the sewing option. But first I just wanted to show you an option to not do it. And also some reasons
why not to do it. How do we create clothing? First of all, you could try to extrude or cannot duplicates
certain parts of your model, then separate the selection and create a craft out of that. But you can also just create a cloud thing piece above
or on top of your model. So if we just grab a plane, I'm going to rotate this around the x-axis for 90 degrees, create an edge loop in the
middle so I can delete one side and still have
a nice mirror modifier. Then I can essentially
move these vertices around my model and create
maybe a t-shirt. What I personally
like to do is I like to use the Snipping Tool, snapping set to face. You can essentially click
and then click on G to drag you are for RTX
around what this does. It snaps it on top
of your 3D model. In this case, you can
just literally snapped everywhere in the
mirror modifier. I also want to put
on my clipping. Otherwise I can essentially
move this middle piece out. I don't want that. So just click on clipping and then they
stay nice in the middle. Yeah, you kinda have to
figure out where you want to place every
single piece. It is very blocky. If you just look
at this by itself, you can see that it's
just a very blocky mass, but we can always just start
extruding more pieces. And I'll also put on my toggle x-ray just so we can see where the vertices are. But you can just extrude this over and over and just
move everything around. Also here, just like in every other kind of cloth model or simulation
that we have created. Try to make squares again, okay, that I will
always stay important. Let's say this is a little
t-shirt that I want. Now what we have to do is think a little bit
about the shape. In this case, we are very
much defining these breasts, but we don't really want the
sheet of breast later on in the simulation because
it just looks weird. I already have some kind of
broad, but if it's a t-shirt, the property will be emphasizing
these breaths so much. What you want to do
here is you can put on your x-ray again and then just move
this a bit outwards. So just take off the snapping tool and just move this slowly a bit outwards. So we have more of a
t-shirt shape instead of a, I guess a skin
shape right here we have this kind of T-shirts. And what you want to keep in mind while creating
these clothing. That your geometry matters and also the main
shape of your model, just like anything else that we have created in
this whole class. If you want your shapes
to be more rounded, make it more rounded. Otherwise it will end up
more square inside of your model or simulation. So these, if you want
them, have them around, make them around also. Now because we have nice
and square geometry, we can always satisfied
with one time extra. That is always school ends because it is one single piece. We can also use a soft
efficient surface if needed. With clothing. The size also matters. So right now it's already
quite small. If it Now. If we now simulate it, it will stretch
towards the size. You could make it a
little bit bigger and then it will fall
nicer into place. But that can also be done inside the cloth modifier itself. Let's select this t-shirt. It's gonna be called tight or
whatever you are creating. The maybe it's just assured,
maybe it's a t-shirt. I didn't really know anything about growth and to be honest, but let's add a cloth modifier and let's put the
quality steps higher. That's quite important. Inside collisions. We wanted to put the
collisions higher as well, maybe 56 and put
the distance lower, of course, so 0.001. So if you now play this,
you can see that we get a quite of a decent results. All right, Awesome. Now, you could add more geometry by just adding an
extra subdivision. Here. You can see that it
gets kinda, yeah, weirdly shaped like she
has some kind of disease. Well, that is because this T-pose female model
is quite low poly. So if you put a higher self deficient in here
and play it again. So let's put the logo at two, but makes sure this is
before the collision, in front of collision
and then play this, you can see that we get
way more realistic result either it looks way
better like this. Here in this case, we
get nice wrinkles, everything looks decent and we've created a
little clothing Ps. And the cool thing
about this is that it will also work if animations, I'm not really going
to showcase that. If you guys want that, then just comment down below and maybe I'll make
an extra video. But it's quite simple. You just need an animation. You can just animate
your character or whatever you are creating. And then go inside the cloth. Physics of your cloth. Make sure underneath shape, your dynamic mesh is on. Only that matters. We also have a shrinking
factor which you can also use. With shrinking, you
essentially shrink your cloth before the animation so
we can make it smaller, which with higher values you do that you make a
smaller with higher values. And then you can see that
it will shrink even more. This will really shrivel up. Or you can put it in the minus, which makes it bigger. So then you have a very kind of a big cloth which both
of them are quite handy, okay, you don't need to
scale it up and down. Instead, edit mode
or object mode, you can't do that inside
the shrinking here. Also very handy. In the next video, I'm actually going to show
you how to use suing, which is also very cool. It's gonna be a bit more of an intricate kind
of closing piece. And I will also
show you very quick how you can create some
decent looking materials. I see you guys there.
22. Create clothes with pattern sewing: In this video, you
are going to learn how to work with patterns. So these are the
accounts blueprints, but they're called patterns
inside the clothing industry. And we can recreate
this inside Blender. It is graded with seams. And we can create
these themes as well. How are we going
to go about this? Well, refers are just
going to grab our image. Here. Makes sure we are in
our front view of this blend file and
then drag it in. So now this makes sure that this front part kind of matches
up with your mannequin. I'm going to put it here. It doesn't have to be perfect. But now we can see
that how long are kind of dress is, maybe a bit longer. Something like this will
be nice. What do we do? Let me first explain to you
how we are going to connect these pieces and how
everything there'll be simulated inside
the cloth modifier. So when we have a piece, Let's say we have a plane here. We can of course, create more subdivisions and use a cloth to simulate
this cloth here. And if we display this,
it will simulate. Now if we want two pieces
of graphs together, you just need to so
this together in shape. See suing, make sure
this is ticked on. And now, as you can see, it pulls loose edges together. If we have another
kind of cube here. And then these phases
will be deleted, then we have loose edges. These loose edges will
be pulled together. Now what happens? Let's look. It just jumps together. Perfect. So let me grab another
plane and show you some difficulties and things
that we might bump into. I'm going to add this
plane and of course, a little cone as our collision. Now, this cone has a collision on nets
and we have our plane. This plane we can extrude, create another edge loop here. And we're going to delete
this phase only phases. Let's add a curve modifier and now we can make it fall down. It will just act like a cloth. Of course, we don't
have enough geometry, so let's add some
extra subdivisions. And once we play this, we can see the first
little problem. Because we sought the fire this. We only have two
edges on the outside. All of these other vertices
are not connected at all. That is why only the edges
will be pulled together. This is going to be important later on because you need to have enough geometry to
create a nice-looking cloth. But you cannot just use a subdivision modifier
without getting these holes. I normally suggest
you just create first the subdivisions that you
need and then add your edges. Let's say I don't
have these sheets. What you can do is just select this whole
edge loop with Alt, select, then Shift Alt, select the other sides. And then you can click on
F3 To bridge edge loop. So rich, just search
it attributes. You can also do this
with Control E or Control E. And then down here
will be bridged edge loops. Now click on X to
delete only the phases. And now the only thing that is left are these loose edges. If I play now you can
see that everything gets pulled nice together. This is one of the ways
that you can use this. You can also even use
our creative pillows. So let's say I wanted
to delete all of this, extrude this upwards sectors
whole edge loop here, and then delete only the faces. We can even use some extra
pressure on the inside. Here we have a little
pillow also here. Again, if I want to have more geometry I need
to do with now bought, then we get holes because it's not pull
together perfectly. So that's you have
to keep in mind. Also, what I wanted
you to see is that we have
separate parts here. Bots, we have to keep
the geometry the same. Because if we need to
bridge edge loops, you cannot bridge
an edge loop if one side has less geometry
or more geometry. Let's say I have this hair, but I have an extra edge loop. What is going to
happen if I tried to bridge these edge loops? You will see that it starts
to create these weird lines. Also these lines could
probably work as seems. I can delete only phases
and see what that does. Makes sure that suing is on. They will work as seems,
but you can see that it doesn't indirect issue might want it to the left and right should have the
same amount of geometry. Now that we know that we
can kind of start and I will just show you how I do it. And this will
probably work for any of the patterns that you
will create in the future. The first thing that
we can see is that we have a front and a back. They both look different. But the left and the
right are mirrored. If we create just one side, we can use the mirror modifier to have the other side as well. Now, this is the same for
the front and the back. And we can combine all of these. Let's start with a plane. Rotate displaying
around the x-axis for 90 degrees and move it up. Now, I can scale this down
and I want to make sure that my image is in the
middle here. Like this. Perfect. Why do I use a plane? Well, I like to use
a plane because I can just create an edge
loop here in the middle. Then delete these two vertices. And now if I use a
mirror modifier, everything will be
mirrored perfectly. But if you move this
middle on around, you can see that we
get like an opening. We don't want that. So what I'd like to do is
put the clipping on. If you ever want to
move this inside, you'd just turn a
clipping off again. This is ECS debts. Now, I'm going to move all of this a bit around
and see what we need here. Create extra edge
loop if needed. But at first I want you to start with very rough geometry. Just do rough geometry and then you will reach wherever
you want to reach. I'm gonna move this bit up here. And actually this, once
you have a general shape, you can go into wireframe
mode and kind of see where the hiccups are. Here. I want this
way more smooth. And also here we
want to try to get at least some quarter geometry. There needs to be square. This is the geometry
that I came up with. Now, we want to go to the next
parts. How do we do this? The first thing is I
want to do is just extrude this and go a bit down. I want to keep this
a little part here, but later on we will actually delete this because these
are two separate parts. This is very handy
because we can use different materials if
you want to on them. If you want to delete
these later on, we're gonna delete
only the phases and we have these edges left. But for right now, we're going to keep them there and they don't
have to be square. So don't worry about that. This next one, however, are gonna be square again. And we're gonna keep
off this combined. You can just move this here and just add extra
edge loops if needed. So again, if you have
the general shape, you can start to create
nice square geometry. Or S squared is possible, as I already said,
it's quite hard here. Then we can go onto
the next part. You can literally just
extrude all of this. But also here, keep in mind, you want to keep it
connected for right now. We're just go
extrude everything. We're going to click on the
Shift H and just move this. And I even like to use my
proportional editing tool, but move this a bit closer to the result that we
need to these lines here. Once you have reached the line, you can unhide everything. And I will just show
you that later on. We're just going to delete
all of these phases. Okay? That's it. Now from these
edges or vertices, we can start to extrude it again and create this next part. Also in this case, I like to hide these vertices in
the beginning and then just move this around. Click on Alt age. Now let's just focus
on this, right? So you can just keep
moving anything around. But now we want to have
square geometry again. All right, so let's look. This looks quite square. The only thing you
have to match up is this part below here. Because we wanted
this little edge. This is going to be cut off. That's gonna be a
little seam there. Then here I need to
fix this as well. Perfect. Now we want
this same geometry. Again, it doesn't have to
be perfectly the same, but we need to connect it
later on to this back. What's going to be connected? This edge loop is
going to be connected. So I highly suggest you
duplicate this actual loop, move it down, and then
start the same process. So now we worked from out to in. It's going to be exactly
the same as top. Now, we can just
connect them all later on with ease just
to make sure it is. Again, this little edge here is going to be
in the right spot. And in this case, I think it is. That's the only
thing you need to do just to make sure that
everything is on the lines. As you guys can see, the geometry is not debt
dense and this will of course create less wrinkles and lesser quality
cloth simulations. We want to make sure that
they have more geometry. You can of course,
just subdivide it. The problem is also
these little edges that we have here
will be subdivided. So then we don't really
know very well that are edges to be these ones
we need to delete, but we don't know where
the edges are going to be. How do we do this? Well, I first would just
say delete those faces. We can get them back later on. These, and these
ones here as well. It seems a little bit redundant. But the whole purpose of this first phase
that we have here is that this part and this part has the same
amount of vertices. So we can connect them. Now. If we want more geometry, you can now just start
subdividing them through however many
vertices you want. In this case, I think
this will look good. Now we can start to
combine these again. So you can just select this edge loop and
then this edge loop, a used Alt, and then click to select
this whole edge loop. Then Shift Alt and click to select this edge
loop underneath. Click on F3 to bridge
those edge loops, and then instantly
click on X and delete only phases, right? So don't now we don't
really have to do anything extra to the same here. F3 rich edge loops, right-click x only faces. We can do the same in
this bottom part here. F3 bridge edge
loops, only phases. Here it's gonna be a
bit more difficult because this edge loop
goes all the way up. So in this case it will
stop here probably. But you can always do
a little check if I select all of these
vertices here, let me actually get rid of this image so we can see it a bit better than we have 41 vertices. And if I select
all of these here, you can see also 41. So these two edge
loops can be combined. F3, bridge edge
loop, x only phases. Perfect. Those are these all combined. Now, for this bottom part,
we need to do the same. Select these and these. Again here. You can check it, but probably it will
stop around here. Then F3 rich edge
loops, x only phases. Same here. Awesome. One thing though, in the back, this is going to be connected. And at this point
it is not already connected because we
have a mirror modifier. Let's make sure we apply
the mirror modifier. Then connect these,
and then do the same after rich edge groups. Only phases. Now the only thing we need to do is we need to select this whole bottom parts, then move it to the back. It doesn't have to
be too specific. And now the only
thing we need to do here is combine
these two pieces. In this case, here on top, these are going to be combined F3 loop for bridge
edge loop again, and then delete only phases. Here on top. F3, rich
loop x only phases. Also here you got to keep in mind that there
are some holes in our mesh which we want here
is going to be our neck. I don't want to see if the cloth here because the neck
is going to be here. Now, here are going
to be the arms. But down here, this
could be combined. Again, F3 rich edge
loops, x only phases. Same for this bottom part, which absolutes x only phases. Now, of course, in a bottom, we're not gonna do anything because our legs are
going to stick through. And then we can combine these. However, F3, x only
faces this part as well. F3 bridge edge
loops, x only faces. Perfect. Let's look what
this is going to do. We're gonna get
our T-pose female. I'm going to save
my file just so, you know, maybe it
kind of crashes. I don't want it to happen. And then we need to match
up our little plane here. So I'm gonna move
my cloth around so my female fits in here. You can always make it
bigger like this or you can move these around if you want to move this one a
bit more forward. So the chest is
not going through. But yet you can also scale
it a bit up if you want to. Just see what's happening, make sure your T-pose female has a collision applied to it. And you could also give her an extra soft
efficient surface. So put this above the collision, but then she is or has a
bit of a smoother geometry. Now, select the plane or dress. Create a nice cloth. Physics quality
steps can go higher. We will of course
go into the shape suing needs to be on M. We can start to see
what this is doing. So I'm just going to
play it from frame 250. And here you can see that
it starts to get combined. Perfect. So it's a bit abrupt
for me, a bit strong. And I think the cloth itself is a bit too tight
as you can see here. Even the seams can
pull it together. There is of course
also a huge gap here. And that all has to do
with the collisions. Collisions. Let's put
the quality a bit higher and puts the distance
and lower. So 0.001. And let's look what that does because that gives
us a bit more space. It looks a bit better, but there are still
some holes here. Now I will put firstly the
shrinking factor a bit lower, which makes the
mesh a bit bigger. You can also play around
with the max suing force, but in this case I
will keep it at 0. So let's look what this does. Here. It starts to
look decent, awesome. We get some nice effects here. And this is really one of the best ways to
actually do this. We do, however, get a little
problem here. What is that? Well, it could be that we have some edges in places
where we don't want them. But in our case, I've remembered that we just had one part and then I
just moved backwards. So it could be a normal problem. So you can check your normals in here in a few put overlays, face orientation, and you can see that the normals
are totally flipped. So I will select everything
inside edit mode, go to Mesh normals and
recalculate outside. If this doesn't work
for in this instance, it actually doesn't work. These normals are still red
and I want it to be blue. You can select them separately. Here. The ones that are
red on the outside. Click on Control Plus here. Then Mesh, normals Flip. So now they are just
flipped and now everything around here is nice and blue. And we can go back here, makes sure to face
orientation is ticked off and see what this does. In some cases that
goods become a problem. I still see however, that this is combines. Also here, quality
of collisions could be the problem because it starts to interact
with each other. And here we can see that
they are not combined but the spring together
and then it gets stuck. But when the quality
collisions are higher, we don't get this
problem anymore. Quality collisions
worked in this case, we still have a little bit of very large pinching around here. Again, you could make
your dress bigger, or you could even play around
inside the edit mode here. Select maybe this
edge loop here, and then scale
everything a bit up. So make sure that
is essentially it. Right-click Shade Smooth. Make sure that you have that on. We can create extra
soft efficients after a cloth modifier. And maybe even a little bit
of a solidify modifier. So we have a nice seam here. Don't put the thickness too
high is skin is quite good. And that is
essentially everything that you need to know
to create this dress. What about the materials? Let's go into shading
if you're not already, and let's go to the
rendered viewport. Right now we are inside
the render engine EV. Let's go to cycles and make
sure you use your GPU. If you have a good GPU, which most of you do have
a better GPU and CPU. Now go to world because we first just want to
add a random HDRI. Just add an environment texture, and open one of the HGRI so
it doesn't really matter. And this just gives us a decent lighting so
we can work with it. If you don't want
to see the HGRI, you can go into, again, the random properties. Scroll down and find the film. On any film you
have transparent. So now the background
is transparent, but it was still cast
light on our scene. For this model, for this dress, we wanted to create some of
these looking materials. So just create a new material. You can rename this as well, like dress or whatever
you're creating. And then select your
principled shader, click on Control Shift and
tea to import your textures. We just want a normal roughness
and specular from any of the materials that you have and then do principal texture setup. We didn't want to use
the color because we are actually going to use our
own little color in here. If we zoom in, we can see here, this is of course a bit big. So maybe we put a scale up
to like eight by eight. That looks more decent. Essay color. We are going to add
an image texture. This color goes into the base color of our
principal shader. And we can open our pattern. The pattern that I
chose loose like this, just open image. And here we can see this
cool little pattern. I personally do think however, that this pattern
is a bit too big. If you want to add a texture coordinate MAP notes
at the same time, you just select
your image texture. Click on Control T, and it will automatically add these two. And now we can just scale it up. So maybe two-by-two, this
already looks way better. The cool thing about having a separate parts is that you can even also separate
these materials. Let's say I want this part of the model to
have a different material. You can just select
all of these phases. Go through the
material properties, click on plus to
grab a new material, you can essentially just grabbed the same material
may be duplicate it. You can see I cannot
click on the duplication, so it needs to go
in object mouth, duplicate it, and then
go back in edit mouth. Then I can assign
these phases that we have selected to
this dress zeros 01. And you can essentially
change your pattern may be, or maybe we want to
have a different color, which it's going to
look ugly right now. But you guys can see what
I mean with this. Here. Let's play this. Here. We can see
the results, right? So of course, I personally don't really
liked in this case, but you can easily do that. All right, so that is
essentially how we do this. If your model is also animated, makes sure inside the trash, you also put on dynamic mesh. Then dynamic mesh,
as it says here, then emic mesh makes simulation respect deformation
in the base mesh. If we animate this, this profile, then act with it. I hope you guys learned
from this and I'll see you guys in the next video.
David Jaasma, 3D enthousiast and ofcourse teacher.
