Create a Stylized Anime Room in Blender

1. Introduction to Class : Hello, everyone, and welcome to this new course stylized Anime room in Blender, where you will learn to create a beautiful, detailed anime inspired room environment from start to finish just using blender. This course includes over 5 hours of information packed content, along with all the required resource files like the blend files, HDRIs, textures, everything. We will cover every step of the process from modeling and layout to texturing, lighting, and final rendering, learning how to achieve that signature animal look with materials, lighting techniques, and outline effects for the handrawn look. We'll start by modeling the core elements of the room, including the walls, furniture, windows, cabinets, et cetera. On top of that, we will also create a wide variety of small props like balcony chairs, wall shelves, books, cup noodles, magazines, and many more details that really bring the scene to life and make it feel lived in. After modeling our assets, we'll focus on stylizing our environment, adding lighting, adjusting color settings like the color space and exposure to match the animal look and setting up outline effects for the signature hand drawn style. Then we'll dive into texturing, creating a variety of materials like glass, wood, and walls, all designed to match the style. We will also texture a wide range of small props like clocks, books, cup noodles, lamps, chairs, and many more adding those subtle details that bring the room to life and give it character. Finally, we'll do a bit of compositing and post processing using blenders compositor and some photoshop tweaks to polish the final render using effects like the glare and adding overlays to give finishing touches to our scene. We'll finish the course by setting up various camera angles and taking portfolio ready renders of our environment. Whether you are a beginner or an experienced blender user, this course will give you the skills to create eye catching stylized anime scenes from scratch. So I hope to see you there in the course. Thank you. 2. Creating the Room : Hello, and welcome, guys to this new course where we will be creating a stylized anime inspired room in blender. And if you are interested in this type of style or anime rendering, you can definitely check out my new course that is just released on Demi. In this course, as well, I create like two different very anime inspired scenes in blender. So you can definitely check out this course if you want to create these type of scenes. So let's just close this now and we can now focus on this course. So next thing you can open up your course files, and over here, you will find everything that is required to complete this course. You have the HDRIs, the blender files, the reference images, and textures, everything. So let's open up the reference images first, and you will find that I have added a lot of different images right over here. So first, we have like these main reference images that we will be using to kind of base off the mood and look of our scene. So this is the kind of look that we will be going for. The rest of the images are just some textures that we will be using to create some of our models or the props that we will be adding in our scene. And some of them are also like these blueprint type of reference images. We have the side views and top views or front views for different types of models or objects that we will be creating. So these type of reference images help us a lot in creating these models really easily in blender. So let's just start. I will open up a new blender scene, press A to select everything, and let's just delete all these default objects. I've also enabled this software where you can see all of the keystrokes that I'm doing so that you can follow me easily. Alright, so now we can start with the modeling phase of our course. And if you will just quickly open up the reference images to kind of analyze what we need to create first, you can just go through all of them, and you will notice that in every reference image, we basically have a room with an attached balcony to it and with some sliding window doors so that we can actually see the nice view outside and then followed by all these different props to detail the scene. So now what we will do is we will start by creating the larger objects first, so we will be modeling the room and the doors because that sets the foundation for our scene. And then we can add in, like, all these medium sized props like the TV setup over here and the tables, sofas, things like that. And then at last, we will add, like, a lot of different small props to detail the scene even more. You can check that out in the reference images over here, we will be creating these books, small chairs, some clock, some food items, a lamp, like slippers, all these small objects to detail the scene. We will be also creating some wall props to add details to the walls as well, like some hanging objects, some photo frames, and a lot more. So now I will just move this off to my second monitor so that I can view that over here, and also it does not block our video right over here. So let's press Shift A and just add in a queue. And this cube will be acting as our room. And first, what I will do is I'll press tab, press three for phase, select and select this bottom face, press Shift plus S, and then cursor to select it to bring the cursor right over here on the bottom face. Then you can go to object set origin and origin to three D cursom. What this will do is it will move this yellow point or this orange point that you see right over here to this bottom face. And the reason for that is all the transformations occur from this origin point only. So let's say if I rotate this, you can see the axis is going through this origin point. Earlier, it was in center, so it was rotating like this, and now the origin point is at the bottom, so it is rotating off the bottom face. And the reason I do that is because it will help us control the dimensions of our room a lot better. Press G then Z to move the cube in the Z axis, and then you can hold Control. So control will turn on snapping, and then you can place it right on the grid over here. This gives us, perfect placement. And if I just now press S then Z to scale the objects. So S is shortcut for scaling or sizing the objects up or down, and then press Z to lock the scale in just the Z axis. You can see the height of the cube is only going upwards. Similarly, if I press Shifty add in another cube, this cube has the origin point at the center over here, and if I press S then Z, it is scaling in both directions like this. So that is the benefit of setting the origin point right at the bottom. This type of technique is really useful when you are creating rooms or buildings maybe because then you have placed all of the buildings at the bottom. Like, let's say we have a city type of model and then we are creating all these buildings. I can easily select any one of the building, press S then Z and give them different heights. So this gets really helpful when you are pressing the origin point right at the bottom. And if we had a cube, something like this, then we are increasing the height like this and then we have to move it upwards. So it gets kind of tedious and annoying as you have to do these steps again and again, whenever you change the height of the cube. But you don't have to do these things over here because we can easily increase or decrease the height like this. So let's just delete all this now because this was just for explanation. And as I said, this thing will be our room now. So first set the z to 3 meters because 3 meters is like the average height for rooms. So we can just put in the three in the z. And also, if you want to bring this sidebar tool menu, you can just press N on your keyboard to bring this. N is for the right side and T is for this left side. So press N, go to item, and then over here in the dimensions, you can type in 3 meters in the Z. For the X, we can set this is something like 5.5 and for the Y, we can set this is something like 5.25. Also, these sorts of things are totally up to your preference, like what kind of height or length or width you want to go for the room. If you want to create, like, a larger or a smaller room, you can definitely do that. All right, so now before we actually start to model our environment, there is one more concept that I want to clear up, which is about applying the scale. So applying the scale is basically, let's say, if I add in a cue and I change the scale for it, whenever you change the scale, you need to press Control plus A, which is the shortcut to apply, as you can see. So press Control plus A and apply the scale. And now you might think that why it is necessary to do this, it is important to do this step whenever you change, the scale of your object because if you don't do so, blender can mess up the commands and the functions that we are going to use, let's say, the inset command or the bevel com these commands use the scale of your object to work properly. And if you don't apply the scale, it can cause you some issues. Let me just quickly show you by an example and then it would be much more clear. So press Shift A and add in a cue and move it right over here. Then you can press Shift plus D to duplicate this, press Y and paste it right over here. I will select this cube, press S then Y and scale it by three times. And similarly, for this one as well, I will press S and Y to scale it up and then press three to scale it up by three times. I'm pressing the numbers on my number pad to give them accurate measurements. All right. So now both of them do not have their scale applied. So select one of them. Let's say I select this right one press Control A, and apply the scale. So one of them has the scale applied and one of them does not. So just select this one now, and let's say I press A to select everything and then press Control plus B, which is the shortcut for bevel. And I will bevel it like this, give it a couple of segments using my scroll wheel. And you can see we kind of get this type of bevel. And you might think this is okay, but let's see this one as well now. Press tab, press Ao selective with in press Control B and similarly, give it a couple of segments and bevel it like this. And now you will notice the difference between the two. This one has a lot more uniform or exactly uniform bevel, which is equal on all sides because for this, we have applied the scale. But over here, you can see, as we have like stretched it like this by increasing the scale on the Y axis, and we did not apply the scale, that's why the bevel is appearing to be quite stretched out right over here. So this is why it is necessary to always apply your scale. And this is just example for one single command. But if you do, let's say, I select this phase by pressing three for phase select, select this phase, and I insert this. Again, you will see the inset is happening in a very stretched manner, where these edges are very thin while these are pretty wide. I will also just go over here and enable shadow and cavity. This does not do anything much, but it just improves the visuals of our skin as we can see all of the edges properly now. Earlier, they were quite faint. So I just enable these two options, and then I'll press tab over here, press three for pace select and press I, and you can see over here the inset is perfect. It is uniform on all sides, whereas over here it is stretched. So just make sure you apply the scale, and how you can check the scale is applied whenever you select that object. And if you press N, you will see the scale over here is set to 111. And if you select this one, you will see the scale is messed up as it is increased on the y axis by three. If I press Control A now and apply the scale, it will again turn back to 111. So, just a rule of thumb. Whenever you change the scale of any object, just press quickly Control A and apply the scale, and you will be fine. So let's just delete them and come back to our environment now. Select our room, press tab. Let's select this phase right over here. And you can also enable edge length in the edit mode, which will basically help you to see all the lengths of the edges right over here. And now, once again, we have the practical example of applying scale. You can see all four sides have written 2 meters on them. And even though we increase the size to 5.5 meters and 5.25 meters and 3 meters, so it should not have 2 meters written over here. So just select your Q, press Control A, and apply the scale. Now when you press tab, you can see we get the correct measurements now. Three meter, 5.5 meter and over here should be 5.25. So I'll select this phase, press X, and delete the pace. And we are deleting this phase because over here, we will be adding our window doors and we'll be creating our balcony on this side. And we will set up the camera over here in the room, like inside the room like this. And we can create a nice looking scene with this kind of framing. But yeah, that is for later on. Let's just quickly hit Save on a blend files first, and I'll come back in the blender files folder and then just save it as anime underscore room. And then just hit save and we can continue. Press tab to go into the edit mode, and what we will do is we'll just select this loop, so hold Alt and select this complete loop, press Shift plus D to duplicate this set of word Cs and then hit right click so that it gets placed in this like position exactly. Pretty simple. I will just do it once again, hold all, select this loop, press Shift plus D, and if you move it around, hit right click so that it is in the same position over here. Now you can press P and separate the selection. What this has done is now this cube is a separate object, while this set of words sees only the edges over here is a separate object. And we can press tab, press A to select everything, press F to fill out this pace, and over here, we can create R, like the doors or the windows, whatever. Go over here, select it, go to object set origin origin to geometry. So that the origin point is right over here in the center, press Control R, and then you can again hit right click, so it will get placed in the middle like this and add one over here and add one over here. This way we have created four equal partitions. These two can be like windows, sorry, this one and this one. And these two can be like the door for the balcony. And they both can open in this sliding fashion like this. So what I will do next is I will press tab, select these two faces, press X, and delete them. And the reason I'm keeping only the half side of our Windows is because we can go into the modified section right over here, and then we can simply add in a mirror modifier, and you can see it will mirror it onto the right side automatically. So now if I just select this word, see move it around, you can see it is automatically moving over here as well. If this does not work correctly for you, the reason for that is because you have not set the origin point correctly. Let me just quickly show you once again if I just let's say Hold my shift and right click placed like three d cursor right over here, and select this object, go to object set origin and origin to three decussor. You will see that the mirror modifier will also change its position according to this origin point right over here. So the origin point is always used as the axis for mirroring the objects. So make sure it is always in the center. You can fix this up by just removing the mirror modifier, press tab, select this edge, press Shift puss cursor to select it, and then just go to object set origin origin to three decussor. Then you can add in a mirror modifier and it should work perfectly. All right. Now you can just select this object, press Control it, make sure to apply the scale first, press tab to go into the Edit mode, select these two faces, and then you can press I to insert them like this and press I once again to insert the faces individually like this. So just give it a nice bit of insight till here, and then you can press X and delete the faces, and you can see automatically it will work right over here as well. Next, what I want to do is I'll press tab and just select this phase to hold Alt and select this phase loop right over here. So you can click over here to select the complete loop. Press P once again and separate the selection. And this will help us to separate out the doors from the windows. Next, we can just maybe simply add in, let's say, a solidify modifier. So a solidify modifier will give this thickness like this, as you can see, because earlier it was just a flat plane with no thickness. So now we have added a bit of thickness. Let's set it to 0.05 for now, and in a similar way, we can select this, add in a solidify modifier, give it 0.05 thickness for now. We can always adjust this later on. That is the great thing about modifiers. We can always adjust these settings. Another thing, I will select this door right over here and to make it a little bit different than the windows, select this edge, press G the next, and just make it a little bit thicker like this. What I also want to do is I will select this edge right over here and press G the next and make it just a little bit apart so that we can actually see the partition between the doors. Earlier, they were completely connected to each other. We don't want that. We do want them to have a bit of space between the two. Pretty good, I think. And now to make these doors look even better, just select them and add in a final bevel modifier, which will give the smoothness around the edges. Obviously, decrease this amount, so you can decrease it to a very low number, something like 0.005. And then we can enable harder normals to smoothen up the edges, as you can see. And yeah, that's pretty good. You can see the bevel modifier will kind of smoothen out your edges, which look pretty good. Make sure to select this as well and add in a bevel modifier. Similarly, I will set d 0.005 and enable harder normals. For this one as well set dis 0.005. And let's just sit save now, and I do want to continue, but we will be doing so in the next lecture as this first lecture is already pretty long now. So yeah, guys, I'll see you in the next one. Thank you for watching. Okay. 3. Creating the Balcony : Hello, unwelcome guys. So let's continue working on our environment. In this lecture, we will be working on the doors a little bit and also creating the balcony part of our environment. So first, what I want to do is I quickly want to set up the camera so that we can always just directly press zero to view through our camera view, and we can kind of, like, work on a single angle and make it look good. So just press Shift plus A and just add a camera. It will be added like randomly anywhere. You can press zero on your number pad now, and we are basically viewing through the camera now. So this is the camera view. So this is currently what the camera sees. So in Blender, whatever the camera sees will be rendered in your final output. So let's say if I go to render and render image, and let's just wait for it to render. You can see, we can just directly see what we are currently viewing through the camera. So we need to set up the camera properly. So one way is you just select your camera press G and you can move it around and you can rotate it around. Try to place it exactly where you want it to. But I think the best way is to just set up your view normally like you would normally in blender, you can just navigate like this. So we want the view to be somewhat like this. So I'll place my blender viewbard like this, then press Control all 100. This will automatically set my camera view the same as my blender viewboard. You can see the camera kind of snapped into that view, and now we can just go into the view tab over here. So just press N and open up the view tab and enable camera to view. And now what you can do is after enabling this, you can just move your camera view around very easily, like you would do so with your blender viewboard and you can adjust it. And now you will notice when you just hold Control and use your scroll wheel to zoom in or zoom out with the camera, the camera is clipping with the wall of our room right over here, so we cannot really get, like, a proper view. So the perfect way to fix this is just go into the camera settings over here in the object data properties, we will be decreasing the focal length so we get a little bit more in our a field of view. So you can just start decreasing the focal length to maybe something like 25. Don't decrease it too much because it can get very stretched up. So I think 25 is pretty good. And then we can go over here under the camera section and adjust the sensor size to take in a little bit more of our scene. So we can set this to 50 and you can see now we are capturing a lot more of our scene than like earlier. Earlier, it was pretty zoomed up, and the field of view was pretty narrow. Like a 50 or like a 80 focal length is good for close up shots, but now we want to take in a lot more of our scene. So that's why we will decrease the focal length so that we can increase the field of view and increase the sensor size as well to 50. Now you can press N, enable camera to view, and just place your camera around somewhat like this. Make sure to always disable camera to view when you are done adjusting. Now you can come back to your viewport, easily move around, do your work, and then press zero to quickly view through the camera to see how everything is looking at the end of the day, this is how we are going to render our scene. We won't be seeing it from the outside like this, but instead, we will be seeing it from the inside because that would be how our final render would look like. All right, so let's continue now. Let's sit safe. And first, what I will do is, let's just integrate the doors a little bit better into the room, so I'll select them. And first, let's just move them a little bit inwards like this. Then you can press tab and enable X ray and just select it all over here, and then you can just move it down. So now we can just press Shift A and add in a cube right over here. Make sure you just select your door press Shift plus cursor to select it so that it gets exactly right over here. Press shift A and add in simple e and we can just kind of create a frame at the top to incorporate the door a little bit better. I think for the length of this, we can just directly set it to 5.5 because that is the same as our room's length, and then just adjust this right over here. What I will do is I will just select this part of the door and just move it ahead a little bit like this. Because as I mentioned earlier, this part of the door would be like sliding open like this, like something like this. So that's why we can just move it a little bit ahead of the windows so that we can kind of create a overlap type of thing, and I think that would look pretty good. You can enable Xray right over here and easily do so. Yeah, I think this is pretty good. Let's just sit save and continue working. Next, what I will do is I will press Shift A and add in a plane so that we can set up the balcony. I think the better way to do this would be to just select your room first so that now we can press Shift plus S further to select it, and now press Shift A, add in a plane. And this will be like our balcony part. Again, just press N and open up the transform, and the X can be at 5.5 because the balcony is going to be the same length as the actual room. Press tab and just extrude it up a little bit to give it a bit of thickness and just bring it out right over here. Now, we do want to make it a little bit like thinner, so put the Y at 1.75 meters. This much is pretty good for the balcony. And, something like this. Let's just sit save now. And now we kind of need to add a bunch of balcony railings, as you can see in the reference images as well. If you just quickly go through them. We have these type of railings. We can create something similar. Let's just do that now. So for that, just press shifty and let's just start by adding in a cylinder. Bring it right over here, press R, the next rotated by 90 degrees and scale it down. You can adjust the size of this according to you. Yeah, I think this feels pretty good to me. Now, the nice part is you can just quickly press zero, and we can just check how like scene is looking through the camera. I think this is pretty good. You can, like, enable camera to view quickly and just change the angle of the scene, how it fits well. And let's continue now. Next, what I want to do is I kind of want to add a boundary part for the balcony as well. So before we add the railings, let's do that. Select this, press tab, and just select these three edges. So press two for select, select this edge, this one, and this one as well. You can press Shift plus D again, hit right click and then again, just press P and separate the selection so that we can just separate out these three edges. Press tab, press A to select everything and press E to extrude it out and Z and maybe this much. Now next, we can just add in a solidify modifier to this to give it thickness and just increase the thickness, something like that, and you will see it is not really working properly because the thickness is not accurate on all sides. So first, apply the scale for this, and the next thing to do is it is still not fixed exactly. You can enable even thickness. That will fix it. And yeah, as soon as you do that, it will fix it. Enable even thickness and decrease the overall thickness for the boundary and just move it a little bit downwards. Yeah, I think this feels pretty good. We can add in a nice bevel modifier as well and decrease the amount of bevel and enable harder normals. If you want, you can just select this edge right over here, and this one as well. Not this one, this one. Then press Control plus B to bevel it out like this as well to make it a little bit smoother. Now, right click, shade or to smooth this so that the shading issue right over here gets fixed. And yeah, this feels pretty good. Now we can again, continue to work on the actual balcony railings. So first, what I want to do is I want to, like, copy this part over here on the left side as well. So if you remember, we can use the mirror modifier for this, let's just select this and add in a mirror modifier. And now you will see it won't exactly work how we intend it to. So for that, we first need to fix the origin point. So for this object to copy exactly over here on the left side, we need to have the origin point right over here. So there are a couple of different ways you can do this. You can just either select this piece, press Shift plus cursor to select it, and then select this one, go to object, set origin and origin to three D cursor. This will bring the origin point of this cylinder to the center of the room, and we can easily mirror it now. You can see it is mirroring up perfectly according to the room. And there is, like, a much better and a shorter way to do this. Let's just undo it all and you can see the Origin point is right over here only. We don't want to adjust the origin point right now, so we can directly select the mirror object. So mirror object is basically the object that we are going to use as the axis for the mirroring. So we'll select this, then click on this dropper icon and select the mirror object as this. And we can directly do the same thing without all those steps. So yeah, now it has been copied on the left side as well. So let's create the curve like thing over here. So first, enable X ray and you can disable edge length, so that you don't see all these numbers. Just bring it out right over here, select it all and till here. Then I will show you a nice way to create the like spin. We can use the spin tool. So select the spin tool and the spin tool works according to the three D cursor. So first, you need to bring the three D cursor close to this part because over here we are going to create the spin. Select this whole shift and use your right click to drag around your three D cursor, and you can place it roughly somewhere around here. You don't have to be precise. And then under the tool section, make sure to select the proper axis. So you will see when you select X, you spin it around. I will spin this way, but we obviously don't want it to spin it in this direction, so we will select the Z axis. And then you can just spin it like this on the z axis and you can see it works perfectly. And now we have this gizmo to adjust the spin that we have just done because obviously, it is not really perfect right now. So first, open up this tab right over here and set the angle to 90 degrees because we want a perfect 90 degrees spin. Then you can use this gizmo. You just adjust the spin around. I think somewhere around here is pretty good. Then you can just press E to extrude it out and connect them both. You will notice what is happening is a if I just turn off the X ray, you can press G then X and try to connect them both in the middle, but they are kind of going past each other. To prevent that from happening, you can enable clipping in the mirror modifier, and as soon as you connect them both, they will join in the center like this. They won't go past each other, and now they are connected. So this way, we have created a perfect balcony railing, and I think it looks nice. What we need to do is we need to just adjust it a little bit. Let's move it upwards. Right click and shade Auto smooth this, and then you can just select it Shift plus D to duplicate it, and then just move it downwards. I think something like this would look pretty good. Yeah, this railing feels right to me. Maybe we can move it a little bit downwards. And then to detail it up a little bit more, you select this and first press Shift plus S, cursor to select it so that the cursor gets added right over here, press Shift A, and then we can add in a cylinder. I'll place it over here, scale it down, and move it right over here at the start. Increase the scale for this I fitted between both of the railings. Just like this. Now what we want to do is we want to duplicate it over our entire balcony. First, let's just we click shade or to smooth this. And then obviously we can just select it press Shift plus D and move it around like this, but that is not the best way to do it. We can just go over here in the modifier section and search for our array modifier and add it. Now you can just adjust the distance and then you can give it any number of count for the railings. Maybe I'll set this to 20 and just increase, sorry, factor on the X. Let's set this to 9.5 to round it off. And yeah, I think personally, the railings look pretty good this way. Make sure they are all fitting how we want them to. Yeah. Now, let's just duplicate this. So hit shift plus D, hit right click and press R, then type in 90 to rotate it by 90 degrees so that we can place them over here as well. Place them in the center of the balcony like this and then just decrease the number of count. Don't adjust the factor because we want the distance to be same between both the areas over here on the left side and over here in the front as well. We can now just, like, move it a little bit ahead over here. I think this way the balcony feels pretty nice. We can select this at last, and we can add in a mirror modifier and select the mirror object as this again so that it gets mirrored right over here. And this way, I think the balcony feels pretty nice to me. Let's just hit Save. Maybe we can do one last addition, press Shift plus A and add in a cube and scale this cube down first and just make it the size of the balcony like this. Press G then z and move it upwards just above this cylindrical balcony part. Flatten it out like this. And we can just add this squarish balcony on top of this. I think this would look pretty good. First, select this and add in a mirror modifier and again, select the mirror object as this. I now we can just press control or add edge loop right over here, select this, and then just extrude it out like this. Make sure to enable clipping so that you can connect them both in the middle. Now enable Xray and just try to adjust it according to the alcany over here. Bring it out right over here, and then select this. Ah, this looks fine, but we just need to curve out these edges because they look weird. So first apply the scale and just select this part and this part as well, I think. And we can just hit Control B to bevel it out. Create something like this. As I said, these things are totally up to your preference, but I think the balcony looks fine this way. We can add in a bevel modifier to this to just give it that extra bit of smoothness. I will also just press tab, and enable X ray. Just make it a bit thicker at the top. Yeah, I think this way our balcony feels pretty good to me. Let's just sit safe, press zero to view through our camera. And yeah, I think the scene is coming out pretty nicely, and this is pretty good for this lecture, we'll continue modeling more props in the next video. Thank you Gs watching. I will see you in the next one. 4. Modelling the Sofas : Hello, and welcome guys, so let's continue working on our environment. And in this lecture, we will be adding some props over here to populate our scene and detail it up a little bit more. So if you will look over in the reference images, as I said, we can start by creating the medium sized props now, so maybe the sofa, the table and the DV setup right over here. So as you can see, in every reference image, we kind of have a sofa table setup with a sofas along with the wall on the left or on the right side, and then with a table right over here in the middle. So I think I will be creating something similar to this, where I add two sofa sets and a table in the middle. So let's do that quickly. If you will just see in your reference images folder, we have a front view and the side view for it. So we can add this into blender to create that easily. So first press one for the front view, and then I will press Shift plus S and then cause it to world origin. The reason I do that is to bring the cursor point right at the center of our scene. Press Shift, go to image reference, and just go into your reference images folder. We can view it through the thumbnail and just select your sofa front view. Move it back over here like this. And for some reason, if the image disappears for you, you select the image from over here, go here in the object data properties, make sure to enable perspective from over here. Sometimes perspective is disabled, so the image is only viewed in the orthographic view like this, and it disappears as soon as you like, move around in the perspective view. All right. Now we can press three so that now we can add the side view. So press Shift A, add in the reference image and add the side view. Let's move it right over here. And now we have all this in between, so we can just select both of the reference images and then press slash to go into the local mode so that we can work freely and create our sofa right over here. If you press Slash once again, we will come out of this local mode and we will be back into our original scene. So yeah, let's do that. Select them both, press slash on the number pad. And also, as you can see the reference image is not aligned properly. The sofa is facing this way, so we need to select the side view press S then Y and type in minus one so that we can flip it over here. Now, it's perfect. So start by pressing one and we can just press Shift A add in a. Make sure your X ray is enabled so that you can easily see and just try to match it with the reference image. Place it right over here, press tab, and increase the size of it till here and just move it around to match the reference image. Now, you need to press three to actually view it from the right side view as well and just move it accordingly to the reference image. Now you can see it is kind of slanting down over here. So just select the top part and move it down till here. We can maybe add a couple more edge loops. So let's add three or four. Then we can just move them a little bit upwards like this. Yeah, that's pretty good. Now obviously, this looks too blocky for the sofa seat. So we can go into modifiers and just simply add in a subdivision surface. This will smoothen it out. It does not look good right now, so press tab, and for it to, like, appear a little bit better, you need to add some supporting loops. So first, we can increase the levels to two to increase the smoothness. Right click and shade to smooth this, and then just press tab, press Control R and add edge loop right over here in the corner. Or a better way press control and just increase your scroll wheel, so move your scroll wheel up to add two of them, and then hit right click, and then you can just scale them up like this. This way, we can make sure it is accurate. Next, we can add one edge loop right over here, fix up this edge. And if you want, you can add one edge loop over here as well to kind of help it form the shape. It's totally up to you if you want to make it look alike. If you want to make it look a little bit more fluffy, you can just move down this edge loop, and it will kind of smoothen it out itself. Yeah, in my opinion, I think this is pretty good. Now we can just select this. And what we do is we just press Shift plus D, we duplicate this and move it up over here. Press R, the next, type in 90, press three, and just now move this according to the reference image to rotate it up first. You can press G Y and Y once again to move it in the local direction, like to move it in the direction of the rotation, which is pretty handy. So now to fit it better with the reference image, we need to move this upwards a little bit, so we need to select all of this. I think the best way to do it is to just press C to create this selection and you can increase or decrease the selection with your scroll wheel and just hover over them and select them all right over here. Then you can just hit right click to turn it off, press G z and z once again to move it upwards in the local direction. Press R to rotate it a little bit and just match it with reference image perfectly. And yeah, I think this is pretty good. Let's just come out of it and see. Yeah, I feel like it's fine. Now we can just select this part right over here, move it in and select this part and move it in. And this way, our seats are set up perfectly now. We just need to add the frame around it. So let's start by adding stuff. Press Shifte add in a cube, scale it down, move it right over here. Just enable Xray and quickly match it with the reference image. Press three and extend it till here. Now we can just select it and go to add modifiers and just add a mirror modifier and just select the mirror object as this cube. Make sure to select this cube and let's see. You can see it does not fit perfectly. You can select this cube, click on object set origin and origin geometry to fix up its origin position. And now I think it fits pretty much perfectly. Yeah. Now we can just again shift, add in the cube. Let's create the seat right over here, like the wooden part under the seat, extend it up. And again, all these things don't have to be exactly accurate to the reference image. You can just roughly follow it and create something like with your own design as well. That's totally up to you. It up a little bit. Kind of fit better with the reference image. All right. Now we can shift, add in a cue, scale it down, and create the legs of our sofa. Let's try and see if the mirror modifier works with this. So we have just created this one leg, and then we can select it, add in a mirror modifier, select the mirror object as the seat. And select the X and the Y axis, and I think it fits pretty good. Okay, it does not. So we can just disable the Y and select it manually, and we need to just press Shift plus D and duplicate it like this. That's fine as well. And, you can see a very basic sofa is created very easily as well. We can add in a couple of bevel modifiers to smoothen out this like all these wooden parts that we have created. Make sure to enable harder nouns. Press three. We can just create this small wooden flap over here. Move it right along the legs just over here and give it the same thickness or a little bit less. Yeah, I think that's fine. Now we can select it, add in a mirror modifier, and select the mirror object as this one again. I think the sofa looks pretty good to me. We can continue adding a couple more bewil modifiers. Make sure to apply the scale of everything. Now we can also directly copy the modifiers from one object to another. So you can see this one has the bevel, so we want to copy it to this one, this one, and this one directly. We don't want to add the modifier one by one. We can do so just by selecting them and selecting this one at last, which has the Bebel modifier and then press Control C to bring the copy attributes menu. If you don't see this appearing, you can go to Edit preferences and under the add on section, search for copy attributes menu. Just enable it. This is a very useful add on, and it is added by default in blender, so you can easily get it. If you don't find it over here in your blender, you can go into Get extensions and then just search for the copy attributes. You will find it over here. So over here in the get extensions or in the add on section, you will find it in one of them. Earlier, it used to be in the add on section only, but recently they have created a separate part where we can download the extra extensions from. So yeah, you can find the copy attributes menu over here and just enable that and first select this, select this, select this where we want to add the bevel modifier. And then at last, select this one, which has the Bevel Modifier. Press Control C, copy selected modifiers, select only Bevel and hit Okay. And now all of them have the Bebel modifier automatically added. Make sure to select all three of them, press Control A, apply the scale. And you can see it shows up perfectly now. So it save, and you can press first before pressing slash, I will select these two, press and move them to a new collection and rename these two reference images so that I can just easily turn it off. I'll select the sofa and move it on the left side. Press slash and yeah, now we just need to decrease the size of it, obviously. So before I do that, what I will do is I will select this part, press Shift process cursor to select it. Press shifte and add in a simple empty object that is a plain axis. And the reason I'm doing that is because I don't want to select each and every part of the sofa again and again. Whenever I have to move it around, this can get pretty tedious when you have to adjust it around or just create copies of it. So select them all, so select all of them right now, and then at last, select your empty object. So make sure it is the active selection. You can see active selection is this yellow color, and the non active selection is this orange color. So make sure to select the empty at last, hit right click, parent an object. This way, you can see all these dotted lines up here. So now if you just select the empty object only and move it around, you can move around all the objects or scale it down or rotate it anything. That is pretty handy. So yeah, make sure you do that. Let's rotate this by 90 degrees press R z and type in -90. Now, I'm not really sure about the exact scale of this. First, let's just place it around. I think it's definitely a bit too big. We can shake the transform and it is 2 meters right now. So I say we just crease it a little bit, not that much, press zero and view through the camera. It appears to be fine to me, so just select the empty object only and scale it down. I think somewhere around here is pretty good. Yeah, that feels pretty good to me. Let's just hit Save. And first, let's create the table ones, and then we can duplicate it over here as well. Or maybe we'll do it just right now. Select it all, and now you can hold Control to deselect the extra objects and just select this press Shift plus D and move it over here. Now you can just select the empty, type in 90 and move it leave behind your camera. Press zero, enable camera to view and try to just place around or frame it a little bit better. I think something like this would look pretty good. Disable it, I save. And I think what I want to do now is I also want to add a bit of nice flooring. So if you see in the reference images, almost all of them will have this wooden blank type of flooring. So I think we go with the same. So again, that's pretty simple. What we do is we just select the room, press slash to go into the local mode so that we can work a bit freely. Press shift test further to select it, and press shift add in a cube. Scale this cube down first freeze it on the x axis. Well here, I guess, selected, press S thin Y. Well here 0.175 meters in thickness just place it right at the utmost corner. Now, once again, we can just simply add in an array modifier. We don't want to add it too much above the ground, so just add in the array modifier right now and set it to zero on the X and increase it on the Y. So first set it to one or sorry, minus one. And now you can just increase the count. As you can see, we just don't see the partition in between them. We don't want that. So first, add in a bevel modifier. And as soon as you do that, you can apply the scale and decrease the bevel amount. You actually see the partition between them, and then you can keep on increasing the count until you fill out the entire flow. All right, so yeah, I think that fits perfectly. Let's press slash to come out of it and see how that looks. Definitely select your sofas and move them up a little bit so that they are sitting on top of the flooring now. And let's save, and I think that looks pretty good to me. And with that, this smudge is pretty good for this lecture, we will continue working on some more props in the next one. So thank you for watching. I will see you in the next one. 5. Creating the TV and Lamp : Hello, and welcome, guys. So let's continue working on our environment. And first, what I will do is I will just adjust the size for this TV cabinet because personally, I think it is a bit too big right now. So just select it all. So select all of the pieces over here at the bottom, as well. And then you can hold Control and deselect any of the extra objects that you might have selected. Then you can press slash to go into the local mode, and I'm selecting this big box and just reducing the size for this. Somewhere around till here. Select it all, press slash, and we can just move it down. Also, let's bring it out in the front and then we can extend it a little bit from the backside. Enable X ray, press tab, and then just press G the next and extend it a bit like this. Yeah, I think this much is pretty good. Once again, I will just select everything, hold control to deselect the extra objects, and this feels a bit better. I'll also just press S then Y and squish it in a little bit. And I think with this, we are good to go. Let's select our table and this sofa as well, and just move them to the left side so that all three of them kind of are in like a straight line. I'll select my camera next, enable a camera to view, just press to bring the sidebar view and enable this. I'll just move it around a little bit to get a little bit better angle personally. All right. I think this feels a bit better. Now, make sure to disable this, then you can move around. Otherwise, the camera can be disrupted if you keep it enabled. Let's just sit safe. Now, once again, let's just open up our reference images, and as you can see, I have added this TV reference image, front and side view in the same one. So let's just bring this in. So first, I'll select this one, press M, and move this to the reference image collection. Press one for the front view, press Shift A, and add in your reference image. Let's just directly press slash to go into the local mode, press G then Y, move it back, press Shift plus D to duplicate it because we are using the same image for the front and side view. Let's bring it right over here, press R then Z, type in -90, I think, a, rotate it like this. And this can be our side view. So now just press one for the front view, press Shift A, add in your cube, and enable Xray, press tab and just quickly, select all of the edges and match them with the reference image. Now you can press three and just select it and place it right over here. Press G then Y and bring it back. I'll go over here and make sure to just disable edge length for now. And now we can keep working. Press one, and you will see that the size is kind of like disrupted. If you just select it back and decrease the size for this. Now press three, it would be kind of skewed off in the side view. I think this is happening because the reference images are of different sizes. So what we can do is we can just match it in this one single view, and in the front view, we can keep it like this only because in the front view we don't really have to do anything. There isn't much detail to create. So yeah, we'll just keep it this way. Press tab, select this phase, first, go to object set origin origin to geometry, press Control A, apply the scale, and then you can press tab, select this front face, enable X ray, and now just press I and inset this till here. You can match it with the side over here. So till here is fine. And then what we do is we just press E and extrude it little bit backwards to create this TV like shape. Pretty good. We can now add in like a bevel modifier. Enable hardened normals and just decrease the amount of it. I think this much is pretty good personally. Press three for the right side view now, press tab, and now press three for face select, select this back face, press I to incent this just a little bit like this, and now press three once again and move it till here. Enable Xray, press one forward, C select, and bring it down. Another thing we do is we just press Control R and add edge loop right over here and just scale it down a little bit. Not like this. Instead, what we do is we just select this edge, press three, enable X ray and move it down. So that we create something like this. Let's just move it down over here. In this way I think that's fine. If we want, we can maybe squish it in a little bit more. Yeah, this feels a bit more natural, I think. Press tab, press three on the number pad once again. And what we do is we press control R and add edge loop, press E, and then press F to flip it just so we can make it a little bit straight and place it right over here. Now, you can just press three for phase select, select this phase. And let's see. What we do is we just press E to extrude it out like this. Press two for edge select, select this edge and now just move it down. And then you can press Control B to bevel it out to make it a bit smoother. And now let's just sit, right? Shade on to smooth this. First, I'll move this smooth by angle on top of the bevel, and you might see we have a couple of issues going on with our shading. First is we get this kind of blackspot over here in the corner, and also we get a little bit weird shading right over here. As you can see, we get the sharp edge, but it kind of fades away and then we get this smooth area. And this is happening over here as well a little bit. So let's fix that first. So first to fix this area right over here, we can just add in a weighted normal modifier. So search for weighted normal and just add that. And yeah, as you can see, that area at the top looks much better now, and overall, our shading is a bit better. For these parts right over here, just select this edge, press G then X, and just move it a little bit, like a tad bit in on the right side. And as soon as you do that, you can see now the whole edge looks perfect. And again, do the same thing right over here. This time, move it on the left side. And as you can see, as you do it, now it looks much better. Maybe we can select this edge right over here as well and maybe move it on the Y axis, and then we get this sharper angle, which we might have hoped for. Yeah, I think that's looking pretty good now for the TV. What we can do is maybe we can make some adjustments here and there on our own. Press tab, press three for face to leg, hold t, and select this loop entirely, press I and insert it like this. Then you can press Alt plus E and extrude faces along normal and just extrude it out just a little bit to make this kind of extrusion, which I think looks nice. The next thing to do is you can press one, enable Xray, press tab, and just select it all, and then we can press G in Z and move it down so that it has the proper width and length as of a TV. And yeah, now I think it looks pretty good. So press one now, and the last thing to do is to create these stands. So press Shift A. First, let's select this press Shift plus cursor to select it, press Shift A and add in a cube, scale it down and let's see how we can create this. Enable Xray and make it roughly the size of the stand right over here. Press three for the right side view and bring it right over here as well. So we can press Control A and apply the scale first, then press tab and make sure X ray is enabled, just move this down and move this over here. Let's press Control R edge loop, and then we can select these two parts, press E to extrude it out and just match it roughly with the reference image. Then you can press one and select this bottom face and move it right over here. Just kind of take a look at it how it looks over here. I'll move this down press tab. Select this space and extend it upwards just a little bit so that it looks something like this. Yeah, I think the shape is pretty good. Now what we do is we just press tab. One thing that you must know is that in the edit mode, whenever you change the location of this, you can see the origin stays over here only. But if you move it in the object mode, object mode is when we press tab and we cannot really edit this object, we can just move it around, scale it or rotate it. And now if you move it around in the object mode, the origin point will move together with this. But if you press tab, press A to select everything in the edit mode, now when you move it around, the origin stays over here. So the reason I'm saying this is if I just press G, then Y and move it right over here so that the origin point stays like this. Then I add in a mirror modifier, I can use this technique to kind of mirror it how I want it to and disable it from the X, and now we get the proper shape. Select it, move it back a little bit, and move it upwards. Might have to just make them a little bit longer. So press tab, select this phase and move it up. And yeah, that's fine. Then you can once again select it, add in a mirror modifier and select the mirror object as this, and it will mirror it over here on the left side. Now obviously, we need to make it look a little bit better. So first, what we do is we just add in a bevel modifier, and then we can add in a subdivision surface modifier to make it smoother. Now, first, let's right click and shade to smooth this, and then we can just decrease the bevel amount to give it a little bit better shape and form. Increase the subdivision to two, press tab. So we do see, like, a little bit of shading issue right around here. Press tab, press control R, and add edge loop like this, yeah. That seems to fix that. And with this stands are looking pretty good now. They are not looking as blocky. If we just disable both of the subdivision and the bevel modifier, you will understand what I mean, as you can see how sharp and kind of blocky they look. But as soon as we enable them both, they look much better and smooth. And with this, our TV is pretty much ready. Let's just hit Save. And with this, we can first press slash to come out of the local mode, select TV and just select this part. Press slash, press seven for top view, press R, then type in -90 and place it right over here. Press slash to come out of the local mode, press zero for the camera view. And yeah, I think it looks pretty good now. It fits pretty well with our scene and our, like, TV cabinet as well. Let's just hit save. And I think, yeah, this is pretty good. Next, what we can do is we can create the lamp right over here. That also, I think is pretty simple. So let's just select both of our TV reference images, press M and move them to the reference image collection. Press one for front view, again, press Shift A, add in image, and select your lamp. Press slash to go into the local mode, and we can just start simply by adding in a cylinder. Place it right over here and match it with the length of the lamp. Press tab, and as you can see, it kind of gets a bit thinner at the top. So just decrease the size of this just a little bit, not that much. Then we can press E to extrude it out, S to scale it up, and once again, press E to extrude it like this. And we can create something like this. We don't have to go into much detail for this. I'll select this part, press Shift plus because it to select it, press Shift A and add in another cylinder and scale this down, create the bottom part. As you can see, this reference image is not perfect. But yeah, we can definitely work with this. It's not that bad. Right think and shade auto smooth, press Control apply the scale, press tab, free for face select and select this top face and press I to insert this. And just create something like this. Again, pretty simple and now to create the top part, just add another cylinder, move it up, enable X ray, first, we need to scale it down. Press tab, press one forward, C select, bring this down and just scale it a little bit inwards. Select this bottom part and we can scale it a bit outwards. Last thing, press tab, select this face, press X, and delete the pace so that we have something like this. Right click and shade or to smooth this. You will notice that we can kind of see some lines right over here. That's because it is being stretched. So press control and add a couple of edge loops to support it, and then it would be fine. Next, adding a solidify modifier, because obviously, right now, it does not have any kind of thickness. So we add a solidify modifier to give it thickness like this. Apply the scale for this. This much is pretty good, honestly. Press tab, I'll select the top loop, so press two, hold on, and select this loop, and press Control B and just bevel it out a bit. I think this looks pretty good. You can add in a bevel modifier as well if you want to do that. Reduce the bevel amount, and enable hardened novels. For this one as well, right, and shade atomth this. And with this, our lamb is pretty much ready. Again, I'll select this press and move this to the reference image collection and select the lamb, press zero, scale it down. Not really sure how big I want to create this. I will definitely select this part and scale it down, make it a bit longer. Also, I'm not really liking this top smooth part. So I'll just delete it. And again, select it all press F to fill it out, move it a bit upwards. And once again add that bevel, but not that much this time, just a little bit, so that it looks like this. Okay. Yeah, personally, I think that's better. As I said, all these things are very much according to, like, personal preference. I'll add a Bewl modifier over here as well. Apply the scale, make sure to enable harder normals. And yeah, with that, our lamb also is pretty much ready, and the room is slowly starting to take shape. Let's just hit save, and I think this much is pretty good for this lecture. We'll continue working and creating more props, so I will see you in the next one. Thank you. 6. Adding the Table and TV Cabinet : Hello and welcome guys. So let's continue working on our environment. And in this lecture, we will be adding the table and the TV cabinet right over here to detail the environment even more. First, let's just quickly go into the reference images. And if you open this up, you can just quickly go through them and you will see that most of the renders do have a very simple looking wooden table in the center of the scene. So we can create something similar to that. We can basically just eyeball this model. So I'll move this to the second screen and start working. So first, press Shift plus A, and let's just simply add in a cue. I will select these doors and windows and just press H to hide them for now and we can select this, scale this down. I'll select the room as well and then press H to hide it so that we can just work a bit more freely. You can also press S then Shift plus z to only scale it up in the XN rain like this. My we can bring it till here. Yeah, something like that, I guess. Now we can just press Control A first and apply the scale. If you remember, we have changed the scale for this, so just apply the scale, press tab, press three for phase select, select this space, and press I to insert this. I'll first press Slash to go into the local mode, and now we can press I to insert this just a little bit. I think this merge is pretty good and enable edge length and just extrude it out somewhere around here, I guess. You can also add in a bevel modifier quickly to just smoothen out the edges a bit, enable hardened normals and decrease the bevel amount. Yeah, I think that's pretty good. So again, we will be just creating a very simple looking table so we don't have to do too much. Next, what I will do is I will select this first, go to object set origin and origin geometry to quickly fix up the origin point, press shifts cur to select it and press Shift A and add in a cue. Scale this down, and this will be working as the legs of our Que or sorry, legs of our table. So press seven or top view, place it right over here. P slash to come out of the local mode. This much is pretty good. We can select it and bring it up a little bit. Now, let's just select it and scale it down on the Y axis. I still here, and then we can scale it down over here as well. I'll just place it at the corner. A again, you can just select it, go to add Modifier and add in a mirror modifier and just select the mirror object as this table or the table top, and then you can enable the Y axis as well. And this will mirror it out perfectly on all four sides. Select them both, press slash to go into the local mold. I think this is pretty good. You can press Control plus seven to view it from the bottom and just move them around at once. I think this is pretty good. I'll go into the modifier section and add in a Bevel modifier. Make sure to apply the scale and decrease the bevel. And at last, we can just add in a simple cube and scale it down. I'll just enable X ray and try to fit it within the legs just like that. Yeah, I think this is pretty good. Slash to come out of the local mode, and now you can press plus H to bring all of the remaining objects back, press zero to view through your camera. Let's just increase the size of this a little bit also add in a Bwel modifier to this as well. I think this way our table looks pretty good. Happy with it. Let's just save. And we can continue working on the TV cabinet now. Again, if you will go in the reference images, I've added a very simple reference image for the same. So we can create something similar. This one is pretty easy as it is just the front view. We do not really need the side view as a side view is just like basically thickness only it does not have any details. So what we do is we press one, press Shift plus because it world origin, press Shift A and add in the reference image. And we go into our reference images folder and just select the TV cabinet. Us quickly press slash to go into the local mode. And now we can just start creating it. So we add in a cue, enable Xray and scale it up like this. Make sure to press Control, apply the scale, press tab, and now just add in like a bunch of edge loops just according to the like the reference image right over here. You can also add in one right in the middle so right click to place it exactly over here. Yeah, I think that's pretty good. Now we can just select these two faces. Press control, apply the scale first, enable Xray, press I and press I once again to insert them both individually, and just give them a very small inset and then we can maybe first extrude it inwards, and now press I once again to insert it just a little bit, and then press E to extrude it out once again. So that we create something like this. We can add in a bevel modifier to make the edges pop out a bit more. Next, we just hold out, select this complete loop, press Add plus E, and extrude faces along normal, and just extrude it out a little bit. Lastly, we just need to create this space right over here. So we can maybe select both of these faces. Make sure to select both of them in the front. Press I to inset this just a little bit. Sorry. Make sure to press I and press I once again. So this time it is not in setting individually, but as a single phase only. Give it a very small inset and then just extrude it inwards. Be it like this compartment inside. Maybe we can just make the edges a little bit more thicker. Now I will also select the bottom faces and just extrude it out a bit. Let's undo this first, hold all, select it completely, press all plusE and just extrude it out a bit like this to create this bottom edge. Hit save, and next what I will do is press one. We just need to add these stands. So press Shift A, add in a cube, scale it down. Bring it right over here. He it up according to your length of the cabinet. We need to also make sure that we kind of reduce the overall length of this. I don't really know how much we want to make that. Let's adjust that later on when we add it in the room. Now select this part and add in a mirror modifier to this, just to mirror it on the left side as well. Then we also have something in the middle like this. We can just duplicate this one, move it on the left, remove the mirror modifier, and just place it right over here. All right. It's pretty simple. Let's save. And what I will do is I will select this press tab and select these two faces and just press E and extrude them upwards a little bit, to create a bit of, like, part at the top, as well. And then we can hold all, select this loop again, press All T, and extrude faces along normal. Just to create something like this, I think this looks a little bit better than earlier. Now I'm pretty happy with it. Let's just finally create those handles. And for them, we'll be just using a simple approach just add in a plane. And first, you need to rotate it by 90 degrees like this, scale it down and place it right over here. A it up. Then what we do is we first bring it out. Now select both of these edges, press E to extrude them, hit right click so that they get placed exactly over here, press G then Y and move them in like this. Maybe a little more, I think. Now, first, you can select this, add in a mirror modifier to this. Select the mirror object as this once again to copy it up right over here. Next, we give it a bit of thickness, obviously, so add in a solidify, increase the thickness and first apply the scale, and now make sure enable even thickness and just decrease the thickness now to adjust. And we get something like this, and we can just prestab, select these two edges, press Control B and bevel them out to make it a bit smoother. I think these handles look a little bit better than having them perfectly sharp. Right, shade or to smooth them, decrease the thickness to like 0.03 for now. I think this looks pretty good. Let's just sit save and press slash to come out of the local mode, and this is obviously too large. So we'll select it all. Make sure to select these three objects as well. Scale it down. Press seven for top fume enable X ray, rotate by 90 degrees, rotate by -90 degrees, place it right over here. For now, we can kind of place it in front of our table only, right about here. But I am, really unsure about the overall size of this. Let's just keep it at this size only, and then we can kind of later figure it out, how much we want to adjust it. Let's just sit safe. And with this, we are looking pretty good with our environment. We added like a couple more props in this lecture. We'll continue working on more props in the next one. So thanks for watching. I will see you in the next one. 7. Modelling the Fridge : Hello, and welcome, guys. Let's continue working on our environment. In this lecture, we will be adding a fridge next to our TV just to fill out this empty space right over here. If you go in the reference images, we have a very simple looking fridge reference image. Let's just bring that into blender and we can create it. I'll press one for the front view and hold Shift and right click and place the fred gaza right here. The Shifte add in a image. And go to my folder. Let's just bring this in. So it has both the front and the side view in a single image only. So we can just press slash to go into the local node. Let's move this one back, press Shift plus D and press R, then Z type in 90 to rotate it like this and place it right over here. Then we can press one for the front view and just simply start by adding a. Press Shift A, add in a cube enable Xray. Press tab, press one for select and place this edge right over here, and this one right about here or here, I guess. Press three for the right side view, and now we can match it with the side view over here. Just like this. So our basic shape is like said, for the fridge. Next, we can just press Control R, add one edge loop right over here. And add another like this. Then press Control R and add a edge loop just like this. Or instead, what we can do is let's undo this, select this part and move it till here. Then select it all, press Shift plus D, press Z, and bring it right over here, and then you can extend till the bottom. So we do that just so we can get two different doors or two different boxes for the fridge, and then we can add in a bevel modifier first. So press control, apply the scale. Let's decrease the bevel amount and enable harder normals. Enable tray back again. And what we can do is we can first press tab and select this part and move it up and now just select this edge and move it or instead of moving down, we can just select this. Press three for a select, select this and press E to extrude it downwards like this. Then what I will do is I'll press tab and press three for face select, hold Alt, and select this lobe, hold Shift t, select this loop. Maybe we can press I to insert this just a little bit, and now presalt plus E and extrude face along and just extrude this inwards a little bit, maybe till here is pretty good. Just to create kind of a partition right over here. We can now press Tab again, select this phase and try extruding it like this still here. Create something like this. I'll extend it just a little bit more. Next, what I will do is I'll tab, select this pace, this space, and this space, and maybe just give that a bit of extrusion, add a little bit of like this partition. Earlier, it was completely flat. That looks just a bit weird, so I'll just extend it like this by extrude. I think that looks better. Now to copy this part like this thing that we just did over here on the left side, instead of using a miror modifier, we can do something similar. So press A to select everything and just go to mesh and symmetrize. So symmetrize basically creates symmetry in your model. So right now the direction is from minus x to plus x, so it is using this side and copying it over here. But if I select plus X to minus x, you can see that is back again, and it is copied over here as well. Yeah, pretty simple symmetrize works this way, if you just again, press A to select everything, go to mesh symmetrize instead this time selected, let's say, minus z to plus z, you can see the bottom part is copied up and pasted over here on the top. So this way, you can kind of use the effects of mirror modifier. But the difference between this is that it is permanent. With the miror modifier, we can adjust it whenever you want. It is non destructible. But with the symmetrized command, it is permanent. All the changes are made instantly and you can edit them whenever you want. So let's continue now. What I will do is we have pretty much got a shape of the fridge. Maybe we can just press tab and select this part. First, I'll just hold on, select both of these loops, so shift at and select them both, press X and dissolve the edge loop, just so I can select this part and this part, press Control B, bevel it out like this. Make it a bit smoother. It's move smooth biangle at the top. If you want, you can select these two edges as well and rest control B to build them out. I think that's fine. You might notice that the Bevel modifier is not really working that well right now. So what you can do is you can go over here on the geometry, disable clam overlap, and disabling clamp overlap basically unleashes the bevel modifier and it is not really now restricted, so you can just decrease the bevel amount and adjust it according to you. This will also help you to kind of figure out where the problem areas are. Let's say we are getting a bit of shading issue right over here so we can, maybe move this edge a little bit far away to fix that. A little bit on the left side, and that fixes the shading issue. You can do that over here as well. All right, that's pretty good. Press tab. Let's select these two faces and extrude them up just a little bit. I do it and I will select this part as well. Now we pretty much have a pretty nice cooking fridge. What we can do is we can at last just add in these handles. I will also add in a weighted normal modifier because that will help to, like, fix up the shading a little bit. And yeah, I think this looks much better. Press three for the right side view press Shift tap and add in a single vertice, as you can see, you can add it from over here. If you don't find these options in your Shift plus A menu, you can go to edit preferences. And now in the add on section, you can just search for extra. And now you can just enable both of these extra curve objects and extra mesh objects. This will basically add extra options in both the mesh and the curve menu. So now in the mesh menu, add a signal vertice, press one for words, select and move it around. Enable Xray, and you can place it right over here. And now this extrude it by pressing E, keep extruding it and match with the reference image. Pretty simple. As you reach right over here, just press E and move it like this and then go inside. Now we can just trace out this inside line. Select these two, press F, press A to select everything, and then again, press F two, create a phase. Let's press one for the front view, press tab, enable X ray, and move it right over here. Press E and give it thickness. Now just add in bevel modifier in the first right thing in shade or to smooth this enable hardened normals and decrease the bevel amount. Pretty good. Maybe if you want to, like, smoothen out a couple of edges, you can just select them and then press Control B. That will help in smoothing that part out. If you think that it is like a bit too blocky. And with that out of the way, you can just select this and enable Xray, just move it, download, duplicate it, and move it downwards. And with that, I'm pretty happy with how the fridge is looking. But I do want to make change in this is that I want to extend this backside of the fridge because I think that it is a bit too thin this way. You just press G then Y, even though in the reference image, it is like that, I will just extend it a bit to make it a bit thicker like this. Yeah, I think this proportion feels a lot better in my opinion, and now you can just select it and we can press slash to come out of the local mode. It's rotated by 90 degrees like this. Press seven for top view enable Xray, and place it beside our cabinet and first scale it down. I'll go over here and select bounding box Center. Enable Xray. Let's press zero for camera view. Right now, I do feel like the scale is a bit off. Don't worry we'll fix that. Let's just save right now. And with that, our fridge model is also done. I'm not too sure about the placement and the scale of it a little bit. I think maybe we can increase it a bit more. I think this feels a bit better. What I will do is I will just press tab, I'll just enable X ray, select all of the right side, and just move it a bit inwards like this. Yeah, I think that's pretty good. Yeah, I think that's pretty good now. Let's just safe. And with this, our room is pretty filled out, and we have almost created, like all of the major props in our sea. We do have to create a couple of chairs on the balcony and maybe some other stuff as well. Obviously, we have got ourselves a lot of, like, smaller props that we have to create. Like some snack boxes, like some cup noodles. We also have, like, slippers, remote, all these small props that will, like, give life to the sea. But all the major props are pretty much done. So what I want to do now is I do want to, like, texture all of this scene first, so add, like all the textures, give it some bit of lighting. And then we can again move back to the modeling part, creating all of the smaller props to fill out the s. So yeah, with this, our major part of the modeling is done. So in the next lecture, we will be working a bit on the textures and lighting, and after that, we can focus up on the props in our scene. So thank you guys for watching. I will see you in the next one. 8. Adding Lights, Outlines and Fixing Colors (IMPORTANT) : Hello, and welcome, guys. So in this lecture, we will be setting up the lighting of our scene, and we will also be learning how we can add outlines to our environment, which is kind of like a big contributing factor in giving that anime inspired look to your scene. So let's just start. I'll first just select these two images, press and move them to the reference image collection. So now we can go over here in the corner and select viewpoard shading so that we can actually go in the render view mode, and everything is black because we haven't really added any lights to our scene. So first, you can go in the render properties and change your render engine from EV to cycles. Make sure to also set the device from CP to GPU if you have one because GPUs tend to be a lot more faster than CP. Enable denise because all this noise that you see over here, it would be removed in your viewpod and it is a bit easier to look at. Also, you can go over here and edit preferences, and under the system section, make sure you selected optics and just enable your GBU if you haven't enabled from over here. You can also enable your CV along with your GBU so that both of them contribute in rendering your scene. But I've kind of found out that it is faster to just keep the GBU enabled for me. But yeah, you can do whichever way you like. I'll close this now. And let's start by pressing Shift plus A and just simply add in a sunlight. So you can see a sunlight is this direct light which will appear all over your scene. So even if you add a plane right over here in the corner, you can see it is being affected by the sunlight. If I just delete it, you can see the sunlight will be all over your scene, and it does not really matter where you place the light. You can press G to move it around. Nothing will affect it. The only thing that will affect the light is the rotation of the light. So let's say if I just press R and type in X, if I rotate it around, you can see now it is affecting the light in our scene. So the position of the sunlight does not matter, but the angle of it matters. So press zero first to view through your camera so that we can kind of get the perfect lighting according to the angle we are going for. Another thing that I will do is I will go in here in output properties and enable render region. What this will do is it will disable all of the other things, it won't show you the rest of the scene as long as you are in your camera view. So if I come out of my camera view, everything is normal. But if I go in my camera view, I only see what our final render would be looking like, none of this extra information, which I think is better. It helps us to focus only the things which are in the view and how we want to place our camera view. You can just enable camera to view by pressing. Bringing this side bar and enable this and you can move it around if you want to place it like a certain way. I'll undo this, disable this and just make sure render region is enabled. Okay, back to our light, you can just select the sunlight, press R then X. First, let's rotate it like this. So I think something like this is pretty good, then we can press R then Z and rotate it on the Z axis so that we get something of this sort. I'll press R then X once again and just try to get a nice angle working for us. I think this feels pretty good to me. Yeah, I think this angle is very nice. Another thing that we can do is we can go over here in our object data properties of the sunlight. And if you adjust this angle option, so this angle option is different. I will kind of control how soft your shadow is. You can see right now it is really harsh because I have set it to zero. By default, it is set to this number. If you keep on increasing it, it will basically make your shadows softer like this. So obviously, we don't want to go too much with this value, but we can definitely increase it to something like one or maybe 1.5 even just to get those softer looking shadows. And next thing that I will do is I will also increase the strength of the sunlight to maybe something like three so that everything is a lot more brighter. We can definitely, change these things later on as well. If we feel like the strength of the light is too much, we can set it to two. But now I will be maybe going with three only. Alright. Next thing to do is to add a nice background in our environment. So if you will go over in the course files, open it up, and in this HDRIs folder, I have added a bunch of different HDRIs. These are like anime inspired HDRIs, so they are not really like your normal ones. They are pretty stylized and they will look really cool when we add them in our scene. So you can try them all out separately. You can go into the shading tab and now click over this drop down. So right now, we can only, like, change the materials for the object. You can select over here and send the shader type to world. This way we can change the shader for the world. First, let's go over to the viewpoard shading over here as well. Press zero to view through our camera and under here, press Shift plus A, search for environment texture, and you can just connect it into the color. So obviously everything will be pink because we haven't really set any environment texture. So click on open and you can just go through the HDRIs folder and you can select whichever one you want. We will be using or sorry, I will be using the anime GRI one for our course, but all four of them are pretty good. You can select even this one and you will see the effect it adds. So you can press Control plus D now. So when you press Control plus D, it will basically add this mapping node. So mapping node will help us to move our texture around. So you can see if we get these nice clouds and you can move around the z axis on the rotation to move the HDRI to whichever location you want. So this is kind of like a seaside view type of apartment. If you click on this cross, click on open again, and let's say we select something else like let's select this fourth one. So this one will give you a separate type of look with this high rise city type of apartment. And definitely all four of them are pretty good. And you can see they have like this stylized look going on or like this painterly type of look they are not really your normal DRIs. As I said, I will be using the first one, so select the first one. And not only does it give a nice background to your environment, it will also add a bit of colors. Like if you just disconnect it right now and add it back again, you can see it does add a bit of greenish and bluish tones to your environment. You can just maybe move it around. Kind of find the perfect angle for it. I think this part is pretty good with all the nice clouds. So yeah, with this, I'm pretty happy we can always adjust these things later on as well. So let's just save on this. And first, let's move on to adding outlines. So adding outlines is now way more simple with lender 4.3. It's pretty simple. You can just simply add a three pencil object. If you want to kind of, like, know what are the different types of ways to add outlines, there is, like, the method where you add, like a solidify modifier and give it like extra thickness and change the color of that thickness to black. I think it is called the inverted Hull method, but I don't think it is that intuitive and it is pretty tedious to add. Another way is where we can just use this freestyle option. This option is pretty simple to use. I will just quickly show you. You can enable this freestyle from over here. And as soon as you do that, you can just press render and you will see the outlines added. First, we can go over here in the render samples and just decrease this down to 200 so that the renders don't take long. Go to render and render image. Just wait for it to finish. Alright, guys. As you can see, the render is done. You can see over here, freestyle, stroke rendering, just wait for it to finish, and as soon as it is done, it will add outlines to your environment. So, yeah, you can see, as soon as we enabled freestyle, it has added all these, like, comic style outlines, which I think look pretty good. You can definitely, like, decrease the line thickness from over here. So let's say if we go with something like 0.5. If I press F 11 right now to view my render once again, I can press J, so we can use JK to switch between different slots. So this is currently in slot one, and if I select slot two, you can press J to switch between different slots. It is used to compare between renders. So I will press JNw to get to empty slot and press F 12 over here to create a new render. This way, we can compare both of the old and the new render by pressing J. This is like a nice technique. Let's wait for the render to finish first. Alright, guys. So again, the render is done, and as you can see, this time, the strokes are pretty thin. And if you place J right now, you can compare between the renders as well. This way we have thicker strokes, and over here, we have a lot thinner. So this is like the freestyle method. I will close this now. We also have, like, a lot of settings in the view layer properties for this freestyle option. So not only we have over here, we have just a couple of options, but if you go here in the view layer properties, we have a whole bunch of lot of options over here. Like, you can see this whole section is for freestyle options only. So you can definitely play around with this a lot, change the colors or add different types of effects. But in my opinion, this method also is not that intuitive because we cannot really see the changes in the outlines in real time. We always have to render them to see the effect. So first come back over here and disable freestyle. And the method that we are going to use is just pressing shifty and go over here in the grease pencil section, and we have three types of line art scene line art collection line art, and object line art. Object will only add, like the outlines to a single object collection will add to a certain collection, and scene will add to the whole entire scene, so all of the objects. I think the best way to go is to use collections. This way, we can isolate different collections, giving them different types of line arts or even if you want to, like, isolate some of the collections from getting outlines. Select this, and as soon as you do that, you can see we will get outlines in real time only in our scene. It works best when you are viewing through the camera. So that is not a problem. You should only be using this when you are kind of viewing through the camera. All right. So first thing, you can go through your collection and you will find this line art object right over here. You can quickly access it by closing the collection and just clicking the ine art right over here, and it will select the line art object. So if we go into the modifiers of this line art object, we can adjust like all of the properties. So first things first, let's just decrease the thickness. And you can see it is pretty intuitive as we can do it all in real time. So let's set this something like five and you can definitely see how just adding a bunch of simple outlines has added, like, a nice effect to our scene, giving it that anime inspired look or like the comic book style effect that we are trying to go for. I'll definitely decrease the opacity as well to 0.5 because right now it is too dark. Or maybe 0.75 for right now. And if you open up the edge types over here, you can enable or disable certain things to increase or decrease your outlines in a way. As you can see, over here, it's pretty thick. Like, we have a bunch of outlines going on. So we don't really want that. So what I will do is I will just disable this crease threshold option overall on my entire line art modifier. And this will reduce all of those bulky outlines that we were getting earlier. And I think this way, it looks a lot more cleaner and easier on the eyes. So I'll definitely disable this option. And then we have a lot of different other ones as well, like the intersection where two objects are colliding with each other. So intersections can stay on. Rest of them are fine. Just disable this one if you want to. This one makes the scene a bit too bulky, in my opinion, with all these different outlines going on, so I will definitely disable this one. Alright, guys. So with that, we have added our like lighting, and we have also added our outlines. I also want to discuss a bit more things about outlines, how we can customize them even more. But before that, I want to show you a quick couple of options which will improve the colors of our blender a lot according to our scene. So in anime type of scenes, we get, all these bright highlights and, like, very saturated colors. So we definitely go down here in the color management section and we change the view transform that is currently set to AGX which kind of gives a lot flatter look. And switch it back to standard. You will see as soon as we switch it from AGx to standard, a nice little thing will happen. All the colors and all the highlights that we had in our scene will get a lot more brighter. And although our scene does not have any kind of colors right now like we haven't really added any material, except this background over here, you can still see the kind of effect it adds, changing from AGX to standard. It makes the scene pop out a lot more. And when we later on add all the materials, the effect would be even more prominent. So definitely switch it from AGx to standard because that looks a lot lot better. You can press Control Z and Control Shift plus Z to switch between the two and just see the change happen in real time. We will also set the look from none to medium high to increase the contrast. Again, it just does a little bit, but it does increase the contrast in our scene, making the blacks and the whites stand out a bit more. So I definitely want to go for this switching the view transform to standard and look to medium high. And with this, we have basically covered everything that I wanted to for this lecture, but I would still do a couple of things with a line art. So select the line art modifier. And let's say we want to reduce or let's say we want to remove the outlines from some of the areas or object. So as we selected the collection type of line art, let's say I want to remove the outline from this particular object. It is pretty simple. I will just select it press to move it to a different collection and set it to scene collection, let's say. Or let's say we create a new collection and rename this two no outlines. So right away, it won't really change because the line art modifier kind of needs a refresh. So you can select the line art modifier and turn it on and off from this button. And as soon as you do that, you will see the outlines over here have disappeared on this particular object because we have sent it to a different collection. And now, once again, if you select this again, press and move this to the original collection, again, reset the line art modifier by turning it on and off. You will see the outlines up back again. So I'll rename this collection to maybe outlines. And we can also have a no outlines collection right over here for sometime later on when we don't want to add outlines to a certain object, we can definitely move it over there. Another thing that I want to show you is what we did right now is we just directly remove the outlines from this area. But let's say we want to add a different type of outline to a certain object. Like we want to make the outline a lot more thicker for a few objects. So again, we can do that. Let's use something else. Let's say I select this handle. So I'll press M and move this to a new collection this time, let's say, thick outlines. All right. And if I reset my line art modifier right now, obviously, the outlines would be removed from over here because it has been moved to a different collection. Now what you do is you just select your line art object, and in its modifier section, we just add another line art modifier. So in one single line art object, we have added two different lin art modifiers. So right now it is red because we need to set the collection properly. So we can set the source type to collection and select the collection as the thick outlines. Select our layer and select the materialized player. And you will see just for this particular object, we are getting all these thick outlines. You will notice we are getting them over here as well. You just go into edge types and disable intersections, and that will fix it all. But yeah, this way, you can see, we have created like a separate collection with thick outlines. So this will be controlled by a different line art modifier, as you can see. We can control the thickness of this opacity or, like, things like the color as well. Let's say if I go into the material and I add a new material, rename these two, let's say, red and change the color to red and go back over here and select the material as red this time, I will get a completely new type of outline for certain objects. So this is very helpful as you can do a lot of customizations with this Lin art modifier. If, let's say, now select this object, press and move this to the thick outlines collection, and again, just reset my lin art modifier. And as soon as I do that, you can see it will also get these red outlines. Let's undo it all, or instead just select this first, press and move this to the original collection that is the outlines one, and select your line ard object and remove this new modifier that we added. And we can also remove both of these collections, no outlines and thick outlines. We will worry about that later on. Yeah, next thing that I want to show you is you can also add some new modifiers in your line art object. So select your line art object. And right now, we just have a line art modifier, but we can select AD modifier search for noise and add a noise modifier. You will see what really happened. Basically, our outlines have been added with a certain type of noise, and you can adjust the amount of this noise and the type of this noise. So currently it is set to position where it is just adjusting the positions of all your outlines by a certain factor that you are choosing. If I set this to zero and change the strength, you can see we get the noise factor this time in our strength. Some strokes are pretty, like, strong. Some of the areas are pretty faint. In the thickness as well, some areas will be a lot thicker and some will be a lot thinner. This is really helpful when you want to create that, real comic book style of effect because no one creates, perfect outlines like these ones. Obviously, if outlines are hand drawn, they will be having a lot more noise in their strokes and like all this randomness. So you can definitely play around with the position little bit, little bit with the strength, like the thickness, and you can play around with the noise scale and noise offset as well. This will kind of give you some random results, and you can see, now the outlines look pretty broken. Let's undo this. I think this much is pretty good like playing around a little bit with the position, strength, and thickness. You can turn it on and off and see kind of the effect it adds on your outlines. Next thing we have is we can also add in the dot dash modifier. So as the name suggests, it will create this dotted line in your outlines. Obviously, it is a bit too much right now, so you can increase this and you can play around with the gap value, I think, to kind of yeah, if you increase this dash value, you will see now there are a lot less of them. And we can definitely add, a couple of these dashes here and there, just to add that authentic feeling of outlines. Earlier, like, everything pretty much felt like a bit too perfect, but adding these modifiers will add that randomness into your outlines, which I think is required to a certain extent. And you can play around with all these values. I'll remove this dot dash one, but if you want to, you can definitely add it. I will definitely keep the noise one in there because we want to add that bit of randomness into our outlines. And yeah, this was all of the things that I wanted to discuss in this lecture. It is a pretty long one, but we added the lighting, added the outlines, and also improve the colors a bit for our blender. So yeah, this is pretty much it for this lecture, thank you so watching, I will see you in the next one. 9. Adding the Materials : Allow welcome guys. So in the last lecture, we set up our lighting, added the outlines to our environment, and also fixed up the colors a little bit. And in this lecture, we will finally be starting with the adding of the materials. We can move over to the shading tab so that we can also access the shader editor right over here, and then let's just start by simply adding the materials one by one. We can start by doing the simple stuff. So just select your room, let's say, and we can first move over to the Object shaded type and click on New. We can rename this material to Room. And we have this principle BSDF. So we can play around with the base color, as you can see, or we can play around with the roughness, which will basically decide how much light we want to reflect or not. So for this, we can go for, like, kind of a beich kind of color, yellowish beach. So pretty light shades. But one thing that I want to showcase you guys is that right now we have this wall color, which I think looks pretty good, but I do want to add one another thing into this. What I want to add is a bit of ambient seclusion. So ambient seclusion is basically shadows or kind of dirt in the corners wherever we have, these corners and crevices of our wall, I'll just show you in action, press Shift and add in an ambient eclusion node and plug this into your base color. You can see, as soon as we do that, it will basically add all these shadows in the corner. Like, you can treat it as shadows or just basically dust or dirt particles. But the great thing about this is you can play around with this distance value and you will see this thing reacting. Wherever you have your other objects close to the wall, at those areas, this dust part is being created. Which I think is pretty handy and looks a bit realistic, as you can see over here in the corner as well. So we definitely need to add a bit of this because let's say if we don't add this, the walls look pretty flat this way, so we can plug this in. And now we need to add the actual colors to our wall. So there is different ways to do it. You can definitely just play around with the color value right over here as well. And you can see we get the color for our walls and we can control like this dust component very easily. But I think even better way to do this is send this color to white only, press Shifte and add in a color ramp. So plug this color ramp in between your amid clusion and this base color. And what this will do is through this color ramp node, you can not only choose the color for your walls, but you can also choose the color for your dust, and along with that, you can control the sharpness of the dust as well. If you move these sliders close, you will see this dirt part is increasing. And if you bring in the white as well, you can see now we have created this very contrast looking dirt. So these sliders act as a way if you increase the black part, basically, this black part would increase in the material. But if you increase, let's say, the white part, you can see now this white area increases and the dust part is very less. So this color ramp node is like a really nice way to control this dirt. And also, we can choose the colors for the wall as well as this dust part as well. If you click on here and click on the color, you can see I can change the color of the dirt as well. I make it really sharp, you can see now the dirt is pretty greenish color like this. So this color ramp node is really nice, but obviously we will be keeping it black colored only. Now let's put these sliders both at their respective corners like this on the left and the right. I will decrease the distance value from over here because we do want the dust effect, but we don't want it too much. So we can set this to something like maybe 0.8. Again, these things are totally up to your preference, how you want to create them. And I will click on this white part. So basically, white part is the color for our walls. Now I will again, change it to, as I said, something like yellowish beach type of color. That is what I want to go for. Yeah, as you can see, now, if you just hold control and using control, you can create this cut option which will basically cut the nodes. So if you cut this node, you will see earlier we had this kind of color, which looks nice, but we don't really have any kind of distinction at the edges or any kind of dust at the edge. But with this ambient occlusion, just with this simple one node, we have added this very nice like edge damage or edge dust. But definitely, I think it looks a bit too much right now. So what I will do is I will just click on this dust slider right over here and click on the color and make the color a bit lighter. As you can see, if you make it lighter, you can reduce the effect of it. So we can definitely just set it to something like somewhere around here. That way, it is also adding a bit of value to our environment, but it is not that much in our faces. We do want to add it very like subtly. We don't want to add it like too much. And with that, I think our walls are looking really nice. We'll keep on adding some other simple materials. Let's select this door. And first, I'll press tab and press A to select everything on the right side door, press G, the next, and move it to the right like this. I think this way, it looks much more interesting rather than keeping them closed. Click on here and click on New, rename this material to iron. And for the iron material, it's really simple. We'll give the metallic to one, and we'll decrease the roughness to 0.25 to make it shiny like this. And we will also decrease the value just so it gets a bit darker. I think somewhere around here is pretty good. Now what you do is you just select all of the objects where you want to add the iron material to. So obviously, over here on a balcony, this part this part right over here, these two, and then select this door, and then at last, select the part where you have added the material to. Press Control L and link materials, and you will see now the iron material is added to all of the objects that we have selected. Maybe we'll select a couple more. We also want to add it over here. So select this, then select this, press Control L link materials. I'll press tab and move it just a bit like this. And yeah, as you can see, this way we have added, a couple of materials. For the balcony, I think I'll just select it, create a new material, rename this two balcony and just make it completely shiny so that it looks kind of like tile type of surface. As you can see, earlier it was like this, but we'll just make it very shiny and make it completely white. Select this part as well, and just give it the balcony material. So we are keeping everything simple. We can move over to some of the more simple stuff. We can texture our TV, which again is pretty simple. For these two, I think, again, I will select it and give it the iron material. And for the TV, we can first select it, click on New, and we name this to TV underscore plastic material. And this will be the outside part of the material. So definitely we'll be going somewhere around 0.25 with the roughness because it is still pretty shiny and then just decrease this value to make it pretty dark. Now, what we want is obviously for the screen, we want a different type of material. The screen of a TV is pretty reflective, even more reflective than this outside part. So the way we do this is because both of them are part of a single object only. So first, you go into the materials, click on this plus icon to add a new materials slot, click on New and rename this to TV underscore screen. Now you can select your TV press tab and just select the screen face. So press three for phase select and just select these two faces which create your screen. Now, select the TV screen material and hit assign. And you will see as soon as we do that, it now has that white colored material. Again, give it a pretty dark color and give it absolutely like zero roughness so that it is pretty shiny. And yeah, pretty simple, we have created our TV material as well. You can press F 11 and then press F 12 to quickly see how your render looks when everything is like, done. Alright, guys. So as you can see now the render is done, our materials are looking pretty nice. Also, the outlines that are added on top of it also look pretty good. So yeah, I'm pretty happy with it. Obviously, our major chunk of the materials is this wood material only that we will be adding to the floor, to the sofa, to the table, and to this cabinet, as well. So the major part of it is basically the wood material, which I think we'll create in the next lecture. So let's continue for this lamp, let's say, select this part. And select this part as well and then select your iron material, press Control L and ink materials to add the iron material right over here. What you can do is you can just select this later on, select this and click on this icon. So 11 means this material is being shared by 11 different objects. So I click on here, and this creates a separate iron material. As you can see, only this is being affected. And we can rename this to iron underscore. Lamp so that we know that this iron material is specifically for the lamb. Let's select this as well and give it the lamp material. And what I want to do is I just want to make it a bit brighter, so we have a bit of variation in the scene and everything is not looking like exactly the same. For the top part, what I will do is, once again, we can click on New and just rename this to lamp only. And for this, again, I will be going for a beach type of color. But to give it that lamp look, what we will do is we will go under subsurface, and then we can just increase this weight part. What this will do is subsurface is basically allowing the material to have the light reflect inside of it. As you can see, when it is set at zero, you do not see anything right over here. But as we keep on increasing this weight, basically, light is penetrating through this lamp material and giving us this red colored look. Let me just explain this with a better example. I will select this thing and we can come back over here first. Press Shift plus cursor to select it to bring the cursor right over here, and then you can press Shift A and add in a point light. So you select this, and you can see this point light is added inside of the lamp. And it is pretty much reacting like a lamp. You can see it gives off this like red colored look. If we decrease this subsurface to zero, you can see now it does not give off that lamp kind of look because the subsurface is set to completely zero. So subsurface basically allows the light to pass through the object, but not completely, it kind of goes inside it and then hits like inside the surface, creating different color. This type of phenomena is also noticed when light hits the human ears because human ears are kind of like translucent, so the light does not fully pass through them, but it kind of goes inside the skin of the ear creating that red colored type of effect, or it also happens with the tree leaves as well. So we can set this weight to something like 0.5, and obviously, I delete this point light, and we will get a nice subsurface material of our lamp. So pretty good. Maybe we can increase the weight a little bit more to 0.75. And with this, our lamp is looking pretty nice. Let's just hit Save. What we can do now is to make the lamp look a little bit better. We can just make it a bit see through. As lamps are kind of made of fabric, they can be a bit see through. So set the Alpha value to 0.5. Alpha is basically if the value is set at zero, it will be completely invisible, and at one, it would be totally opaque. So we can set this to something like 0.4 or 0.5. And you can see when we do that, we can kind of see through the lamp, which I think is a pretty nice effect. We can maybe increase it to 0.6. We don't want it too much. So again, we can press F 11 and then press J to switch between the slots and then press F 12 to give it a new render. This way we can press J and compare between the two renders very easily. All right, guys. So the render is done now, you can now press J and kind of compare between the two. The only difference is we add it like this lamp material. I think I will give this base a different type of material because I think it is a bit too shiny, so we can just select it. Now we can just click on this two icon to make this a separate material we can rename this to lamp underscore base. And what I will do is I will just increase the roughness a bit, make it a bit brighter as well. All right. Yeah, I think that's pretty good. If you want, you can quickly give it like a final render as well. All right, guys. So the render is done now, you can once again just compare it. Yeah, I think this looks a little bit better for the base. So yeah, this way you can just make the changes and kind of compare between the two quickly as well. And with that, I think this is pretty good for this first materials lecture. In the next one, we will be adding wood material. So thank you guys for watching. I will see you in the next one. 10. Creating the Wood Material : Hello, and welcome, guys. So let's continue working on our materials. And in this lecture, we will be creating the wood material. Before that, I will just disable the Lin art modifier from our viewport so that we can only see it in our renders because it can cause the viewport to get a bit laggy, and it also causes a bit of confusion as well. So make sure you select it from over here and then disable the Line art modifier. Don't just, like, disable the visibility because it still calculates the line art modifier behind it if you disable the visibility only. So make sure to disable the modifier entirely. Just disable it in real time and keep it enabled in render. Alright. Now we can go into the shading tab and we can just select this, create a new material, and give it the wood material. We can rename to Wood underscore load. Let's enable viewpot shading. All right. So before we actually start working on a wood material, I just want to quickly discuss about the mixed color node, which we will be using a lot of times when we are creating our materials. So let's just press Shift plus A and search for the mixed color node and add it right over here. So as the name suggests, the mixed color node is basically used to mix two different color inputs. So if I just set the A color to something like, let's say, red, and B color to something like blue and plug this into my base color, you will see that we get this purple colored result. Now we have this factor value, which is currently set to 0.5, which means that it is equally mixing the A and the B input. So if I set this to zero, it is completely the A input only. So right now it is only taking the A input completely, and if I set the factor value to one, it is completely taking the B input, and anywhere in between is taking a mix of them both. So this is pretty basic of the mixed color node. Let's say this time we had like a noise texture. So the noise texture just to show you how it looks, let me just plug this into my base color first. You can see it does not really work properly because I think the UVs of it are not correct. So just select your noise texture, press Control plus T. And over here in the texture coordinate, just set this to object. Yeah, I think that will work. Now you can see if we can properly visualize the noise texture. So it looks something like this. Now this time plug this into our A input and now plug the result into our principal BSD. You can see once again it is like overlaying them on top of each other, we get the noise texture along with our color as well. So now if I press Shift A, and let's say we add another image texture that is like a Warnoi texture. So again, the Worni texture looks something like this, press Control plus D and just send the texture coordinate to object. So it will give you the cells type of texture. Again, I will just hold control, disconnect it from over here and plug this into my B. And now plug the result into base color. So this time, instead of having very simple color inputs, we have like some noise or image textures. And we can now again, play around with the factor value. So at zero, we get this noise texture completely, and one, we get like the Warni texture. And anywhere in between, you can see it is trying to, like, overlay them both on top of each other. But we also have a bunch of these different blending modes, which are kind of similar to the Photoshop blending modes. So you can just try them out. But basically, these first three will give you like dark results like let's say if I select multiply, overall, everything will get a little bit darker. The next three are like to lighten things up, as you can see, it will mix the two textures differently, the lighten blending mode. Then we have screen. So all of them will give you, different results based on the type of blending mode that you have selected, as you can see. So this is a really powerful node, and the mixed color node is used a lot, too, just basically. Mix different types of color inputs to get different results. Like, let's say you have a simple base color, but you are mixing in some noise texture, some edge damage, and adding all those things on top of each other to create a nice looking material, which we will be kind of doing something similar in the wood material as well. Like, we will be adding some edge damage, then we will be adding some noise on top of it, and then adding our base color. We can see that we have all these different types of blending modes. And one last thing that I want to go over is that we still have this factor like input. We can also plug something in over here as well. So just to explain this, let's say we right now have this noise texture looking like this. We have these black and white areas. So if we plug this factor into the factor of our mixed node and then plug the result into result, what will happen is basically now you can see the white areas and the black areas are being covered by this A and input. So the noise texture is basically being used as a mask to control this mixed color node. So I don't know if I am explaining this well. But basically, the noise texture is like a black and white image. So this black and white image is basically being used as a mask to drive this mixed color node. So this is really helpful as you can now plug this result in and we can choose the colors. According to this noise texture, if you play around with the noise texture, you can see, we are using this noise texture node to control the colors of this mixed color. So this is something we will be using when we are creating our materials. And this is kind of similar to the Photoshop or the substance painter mask if you have used them. A mask is basically a black and white image, which basically decides where which color input should be showing. You can also, let's say, add in like a color ramp in between and adjust the contrast of this So yeah, I hope I'm making myself clear. This is pretty much very basic stuff of the nodes. And yeah we will be using this a couple of times when we are creating our different material. Now I have discussed everything about the mixed color node. I will delete it, and now we can finally start working on our wood material. So as I said, we will be adding some edge damage or edge discoloration, and then we will be adding some noise on top of this just to make it look a little bit more realistic as a wood. Obviously, we are going for, like, a stylized kind of look so if you want, you can just say add in like a wood type of color. So let's say something like this, just give it like a low roughness value so that we get the shiny wooden plants type of thing. And then you get this very simple wooden material. So if you want to go for something like this, you can definitely do that, but I will be adding a couple of things to this material. So to start off, as I said, we will be adding some edge discoloration. So for that, press Shift plus A and search for the bevel note. So along with the Bevel node, again, shift plus A and search for your geometry node. And now you can just basically plug them both in shift A and search for a vector math node and change this to dot product and now plug them both in. Select the normal input from your geometry and plug this over here. And finally, select this value and search for a map range node. So we have this very simple setup, and using this setup, you can kind of mask out the edges of any model. So if I plug this into my base color right now, you won't see the changes right away. But first, I will set the minimum to one and maximum to zero. And when you start increasing this minimum value like the top value over here and bring it close to somewhere around 0.9 or one, you will see we are basically masking out the edges of our wooden plan. So this is what we exactly want. We have got ourselves a black and white mask, which we can use with the mixed color node to add colors to the different areas. Like, we can add a different color to this black part and we can add a different color to this white part using the mixed color node. So using the concepts we just learned, we have created this mask image, and now we can press Shift A and search for a mixed color node and plug this thing into the factor and plug the result into the base color. Once again, you won't see the changes right away because both the colors are same for A and B inputs. So A, if I change this to some random colors, you can see exactly that is happening. So now what we very simply did was we just use this setup of nodes to create a mask of our edges. If you plug this in, you can see our edges are being masked out. And then we use that mask image to plug this into the factor of the mixed color node. And again, we are using that mask to drive this mixed color. And in these inputs, we can choose our wood color, let's say we choose this type of color, make it a bit bright. So now you can see we get this type of result. So if you disconnect this from the base color, earlier we had something completely flat, but instead, now we get a bit of discoloration in our wood along the edges, making it look a bit more realistic. If you will notice if I select this thing right over here and let's say I add the wood floor material to this, you can see over here as well, the edges are being masked out pretty nicely. So we have just used this very simple setup of nodes to mask out the edges of any of the model. So yeah, this is pretty handy stuff. Let's undo this right now and come back right over here. So we are done with the first part of our material. Now we will be adding a bit of noise to make it look a bit more realistic. I'll increase the roughness to something like 0.1, press Shift A and add in a noise texture now. So let's plug this noise texture into the base color directly just to see how everything looks. So this really kind of works perfectly for us because for the wood material to look good, we need these streaky long lines overlaid on top of our material to give it the feel of that natural wood. We can increase the scale from over here to make them even more smaller to give that wood kind of feel. Now obviously, it does not look that good this way, so we will see how we can, overlay them both on top of each other. So once again, we will be using the mixed color node for this as well. Press Shifty add in a new mixed color node and plug this into B and plug this into A and plug the result into base color. And you can see now what is happening is we use this noise texture to kind of overlay on top of our wood. The colors right now are pretty bad, so let's fix the colors now. I will change this from mix to multiply. And yeah, this gives us a little bit better results as everything gets a bit darker. And now we can adjust this factor value to kind of control how much dark you want to create your wood. Let's keep it somewhere around here for now. Now I will just adjust the colors right over here. If you want to use the colors I use, you can definitely go for that. I will directly, paste the hex code over here if you want to use this. So it is EFC 692 FF. So I will be using this color for the main color of the wood and this for the highlights. So again, if you want to use mine, you can definitely do that. So this one is F E ACF. Alright, so now we just need to tweak the color values a little bit to get the perfect results. But even with this arwood material looks pretty good. We get the faint, subtle highlights along our edges, which we created through this material right over here, we can change the color of them if we want to. If we want to make it a bit darker or, like, a bit lighter, you can definitely do that. What I will do now is, let's see. First, I will adjust the scale of the noise a bit increasing it from over here and increasing this Y value as well, just to make it a bit thinner. As you can see, this looks a lot better and more authentic as wood. Now, the lines are a bit smaller. Next thing that I will do is I will select this and make it a bit darker, just a bit darker so that our edges look a little bit more brighter. So, you can see this looks a bit better. Now, I will decrease this value to something like, let's say, 0.45 to make it a bit lighter. And again, I'm just playing around with these values. You can definitely do these things on your own as well because these are totally up to your preferences. Let's increase this to something like 0.55. And we can start by just pressing F 11 and press F 12 to give this a quick render just to see how everything looks. All right, guys. So the render is done now, and I think our wood material looks pretty good. We can definitely make some changes later along the way when we feel like it. What I will do first is I will definitely select the line art and select the modifier and just make it the opacity at 0.5, because I think it is a bit too like a bit too dark right now. Let's select it, select our wood material. I just want to see a couple of changes that I want to make. You can also increase this minimum value. Don't make it go past one because that will make your edges disappear, but you can set it to 0.999 just to make it very close to the one value. And I think with this, our wood material is coming along pretty nicely. Let's just hit Save. And with this, we can add the wood material to the other parts as well. So select this and add the wooden floor material. So now for this, what we will be doing is first, just click on this two to make it like a unique material and rename this two wood underscore cabinet. So this one is going to be a bit different from the wooden floor material. For this, what we will be doing is we will remove the noise component from our wood material. So directly plug the result from over here to the base color. So that we get something like this. And now we can click on this color right over here and make it a bit darker. Also select this and make it a bit darker as well. Again, we don't need this thick like edge detection. So we can decrease this from somewhere around 0.999 to something like, let's try 0.8 or 0.85. I think personally, that looks a bit better as we don't want that much edge damage right over here. And we can make it a bit darker as well. I think this will give it a different type of look than the wooden floor material. Now we can do the same thing, adding the wood material to the sofa as well, select it, add it to the sofa. Again, just click on this two icon and rename this Wood underscore sofa. Select all of these materials for the wood Now just select this part at last, press Control plus L and L link materials. Make sure you have added it everywhere. And then once again, I will just plug this in directly removing the noise component. We can definitely make this one as well a bit darker and decrease the edge detection as well to something like 0.9 and make this a bit darker as well. I for the table as well, I think we can use the same material as the wooden sofa, select it all, press Control L and link materials. And now we get pretty decent looking table as well. Press F 11 and press J to move to a different slot. Press F 12, and let's see how the render turns out. All right, guys. So the ender is finished now. We can press J to compare between the two, now that we have added, all of the wooden materials as well. And honestly, I think it looks really nice, pretty similar, but still a little bit different type of wooden materials in the scene. And I think our scene is starting to come along pretty nicely. Maybe what we should do is, like, for this one, we should be definitely increasing the roughness somewhere around 0.35 because for the table or for, like, these type of stuff, I don't think it should be that reflective. Definitely make them a bit rougher. The floor can be a bit reflective showing this wooden plank reflection. That looks nice, I think. But for these objects, I think we can definitely add a bit of roughness. I will suggest you guys to, like, play around with the materials a bit more playing around with the colors and things like that and trying to achieve, like, a bit different results. I will also add the wooden material right over here as well. On the bottom part, we kind of forgot to select it all and select this Bisk control and link materials. With that, let's just sit save. And yeah, I think this is pretty lengthy lecture now, so we'll continue from over here in the next one. Thank you for watching. 11. Adding the Carpet and Sofa Material : Hello, and welcome, guys. So let's continue working on materials. I'll move over to the sharing tab, and I just want to make some changes to the wood material that we worked on in the last lecture. Obviously, that is not really necessary for you to do that. If you are happy with how your material is looking, that's fine. First, let's just quickly press F 12 so that we can render our scene, and then we can later on, kind of compare how we made the changes to it. Alright, guys. So the render is done now although it is looking pretty good, let's fix up some of the colors to make it look even better. I'll close this now and I'll select the wooden planks. And then the one thing that I will do is I will just switch the blend mode from multiply to darken. This will give us, I think, in my opinion, a better color for our wood, and we can also just go over here, which is the main color for our wood and just make it a tad bit darker. Like somewhere around here. I think even doing this is a big change. You can also select the table, which is the material for the table and the sofa. And if you remember, we kind of skipped out on the noise texture part for these materials. But for this, we can just connect it back once again. And you can see everything will go pretty dark and we get these weird lines all over it. To fix this, we can just increase the scale of the noise to something big like let's say 50. And over here as well, you can increase it to let's say something like 14. And now you will notice that the lines are pretty small. They look a little bit better than earlier. They look like much more the wooden lines that we get. Like, normally, if you want to increase the scale even more, you can do so. Then it kind of would look like even smaller, so it won't be even visible. This way we can get this type of material. So it's totally up to you if you want to change the blending mode over here as well, or you just want to completely skip out on the noise texture part and connect it like this. But first, let's press F 11, and now press J and press F 12. So we can render it now and we can just press J to compare it between the two. All right, guys. So the render is done now if you press J to compare the color. So it's totally up to you if you like this one better, but personally, I think this color looks a lot better, and it looks much more like wooden flooring now. And yeah, I'm happy with this. You can press J to compare between the two. Now you can make another change. You can now select the table and once again, plug this back in. And it's up to you if you want to select which blending mode? Let's try darken first. I'll press F 11. So this is like the newer render, so I will select this one and then press F 12 to replace this old one and now we can compare it with these two. All right, guys, once again, the render is done, and this time we change the color of the table and the sofa. And honestly, I think this one looks a bit better. That is the new one. I mean, personally, I feel like both of the colors look fine as they are. It's just up to personal preference how you want to go for it. I think I will be going with this one, and let's just continue now. Let's save, and with this, we are done with the wood material. Now, what I want to do is if you press F 11, once again, this is our current render right now. And what I feel like is that we have got ourselves a lot of wood. Like we are getting a lot of brown color in our scene, which kind of is getting a bit boring to look at. So to break this up, we will be adding some different color like we can add in a small carpet over here, which will help us to break up the material a little bit. So let's do that. And also, I am thinking that we missed the material right over here, sorry. Let's select press the dot key to focus, for some reason, we haven't added the material right over here. So I'll select it and select the wood cabinet and over here as well. Select the wood cabinet. You can select this and give this the iron material maybe. That looks fine. All right, so now let's select this pressure plus S, then cause that is selected, and then you can simply just add in a plane. You can start by adding in a plane and scale it up, and let's see how big we want to create this carpet. So we do want to cover the table part along with a little bit of the sofa right over here. I think this much is pretty good. This much for the carpet. Now to make it look a little bit better, let's select this and add in a solidify modifier. To give it thickness. You can now just adjust the thickness to whatever you want to go for. I think this much is pretty good. We can next add in maybe a bevel modifier, apply the scale first and reduce the bevel amount. And also we can add in subdivision surface modifier as well. Obviously, it will kind of smoothen out our carpet like this, or just the beber press tab now and just press Control R, and now you can add edge loop just like this over here as well, just to make the edges of this a bit smoother. And this way, I think it looks a lot more like the carpet we do not really want to get really sharp edges around here. I think these soft edges look pretty good for the carpet. So if you now view it, you can see that adding this carpet kind of breaks up the look of the scene a little bit, and we kind of get a relief from looking at this brown floor. Obviously, we will be adding, like, a lot of different props as well with, like, various different colors that will help break up the scene a lot and add more, like, interesting parts to it. So yeah, I'll select this carpet now, and let's see, first, I just want to select the table and move it a bit upwards. And we can maybe select this as well and move these legs just so they are not colliding with the carpet over here. Now, select the carpet, add in a new material, rename this two carpet. First, we can just start by choosing in a simple color. And again, I will be going for kind of like a neutral color. If you want to choose my color, you can definitely copy the code that I will be going for. So this is the code that I will be going for, you can copy this up and use this one if you want to. And yeah, this is the color that I will be using. Next, make sure to increase the roughness of this. You can see when the roughness is at a low number, we get all these shiny parts on the carpet, which I don't think looks nice. A carpet is pretty rough. So just set the roughness value to one so that it does not like bounce off any lighting. So now if I press S 11 and just go into my render, press J, switch to my old render and press F 12 to see how this looks. You will see when the render is done, it will be improved a lot just by adding this small carpet. All right, guys. So the render is done now, again, you can just press J and compare between the two renders. And I think the addition of the carpet is really nice. Now what we will be doing is we will try to add some dust particles onto the carpet because right now it is pretty much like very clean. We can just add very small surface imperfections just to make it look a little bit, like used up and dirty. So for that, once again, let's add in a noise texture. And if you plug this noise texture in directly, you will see this is how it looks right now. So to adjust it, you can change all of the settings, you can play around with the scale which will make the noise texture smaller or larger. The scale can be something like 5-10. We also have the detail, which we can I think set like the full value. So you will see if you set the detail to zero, the noise would be pretty smudgy and blurry. But if you increase it, it will be something like this with some detailed patterns. And then we have all these different like settings, you can also increase the roughness, as well. I think that makes it look more like a carpet. And with this, we are pretty good to go. What we need to do now is that we need to adjust the colors a little bit because obviously we won't be using this. So you can press Shift A and just add in a mixed color node. So add in a mixed color. Put it right over here, plug this into the factor, and now plug this into the result. So right now you will get, again, both the same results because the A and B color inputs are right now the same. I will hold control and deselect from over here, and we can select our old color from here so that we can paste it in the A&B inputs makes it a little bit easier for us. So plug this back in and select the A input and paste this right over here, the color that we had. And now you will notice that we are getting some small dust particles. If you disconnect the base color, you will see the difference. Select the B color input as well and just paste the color that you use. Both of them have the same color, but what you do is you select your B input and just make it a tad bit darker so that we get a bit of variation going on. Obviously, we still need to play around with the noise texture a bit to make it look good. You can decrease the roughness value, I think, a little bit, we can play around with the scale. And you can see how we have added noise on top of our carpet material to make it look a little bit dusty. What you can do is you can also search for a color ramp null and add it between the two. So what the color ramp will do is you can try to adjust the contrast between the blacks and the whites. If you plug this directly into the base color, this is our noise texture, which is plugged into the color ramp. If you increase the black, you can see the black part increases. If you increase the white from over here, the white will also increase, making a very contrasting pattern. You can use this type of thing for various different results. If you now plug this into the mixed color, you will see that we get this very clear distinction of pattern between the two inputs that we have because we have kind of used the color ramp node to adjust the black and the white points of the noise texture to make it look like very contrasty. But obviously, for this type of, like, dust patterns, we don't want it to be too much like with contrast. So we will just move the color stops away from each other so that we don't get that much of contrasting looks. Make sure to have a little bit of gap in between them. Select this color and make it a bit brighter. We obviously don't want the dust to be too much. Just like a subtle noise that is added to break up the color a little bit. Now if you press F 11, and we can just give it a quick render to see how everything looks. All right, guys, so the render is done now. Once again, you can just press J to compare between the two. And although it is very subtle, you can see that we have added a bit of noise on top of our carpet. Again, it is totally up to your preference how harsh you want to go with this effect. But definitely, I will be just going with this very subtle addition because I don't want my scene to look like, very dusty or grungy. So yeah, I'm happy with how this has turned out. Let's close this. We can select our sofas now, click on New, and just rename this two sofa and select all of these pillows and select this one at last press Control L and ink materials. For this one as well, I will be just choosing a very simple color. Again, you can use my coolor if you want to. So this is the color that I will be going for. What I will do now is I will open up this specular panel, and specular is basically to adjust these highlights that we are getting. So you will see when I play around with this, I can play around with the highlights of my sofa, like when the sun hits this. So you can adjust this IR value. So I don't want the highlights to be too bright because I don't know. It looks kind of weird. So I will just decrease this IR value to a very low number so that we get some of these highlights, but not too much. Maybe something like around here. And yeah, with this, I think our sofa material is looking pretty good. Let's just sit safe, and we will continue adding more materials in the next video. Thank you guys for watching. 12. Adding Glass and Fridge Material : Hello, and welcome, guys. So let's continue adding more materials. Let's see. Let's move over to the shading tab, and only a couple of things are left right now. We can add the materials to the fridge, and then we also need to add, like the window frames over here in our door because right now they are like hollow. So let's do that first. It's pretty simple. We can come back to our layout tab and let's just select this press slash to go into the local mode and press tab, and then you can just press one and hold all to just select this loop so that we can just press Shift plus D to duplicate this, hit right click and then press B and separate the selection. Now, this is like a separate object, press tab and press A to select it all, and then just press F to fill out this phase. Now we can adjust this solidify modifier. To go kind of inwards like this. And then very simply, we have created our glass right over here. Now in a similar way, let's just do it over here as well. So I'll select it press slash to go into the local mode, press tab and just do the same things again. Press Shift plus D to duplicate, hit right, click, press B, and separate the selection. Select it all now and press F to fill out this phase. We can adjust the thickness of our glass and just move it a bit inwards like this. Let's put zero to go into the camera view and now head over to the shading tab, and we have something like this. Now first, we can just select this and make sure to remove this material from over here so that we can create a new material, and we name this two glass. Or rather we should rename these two windows or something. And we can add the glass material very easily, you can do it from over here as well, using the principle BSDF. So the way we do that is just select a transmission and give it one first, and then decrease the roughness, and then you can set the IOR value. So the IOR value for a glass is 1.33. We can put that in. Now we have created the glass material. Let's add it over here as well. Search for Windows and selecting. And, you can see very simply, we have created these windows, and the other way to do it would be to just select it. It is also pretty simple. Let's delete the principle BSDF and instead presif and search for glass BSDF. So this is like a direct shader that we can use for glass and plug this in to the surface. And this will also will pretty much give you the same results only. Make sure to just set the roughness value to sorry, the IR value to 1.33. And with this, we have our glass, but one problem that we might be facing is that our light is being blocked because of this glass. So if you just select them both and press H to hide them, we can see like all this light is being blocked because we have added these glass. So it is pretty simple to fix this. You just select it and go over here in the object data properties and under the visibility in ray visibility, sorry, in ray visibility just disable shadow. And as soon as you do that, you will see light is being passed through them and they are not really casting any shadows. So we don't really want our glass object to be casting shadows like this. So we have turned it off. Now you might notice that the light is somehow really bright for some reason. So what we can do is we can just select our sun and we can go here and decrease the strength for this. Let's see, we can go with something like 1.5 or maybe a bit more. So around 1.7, I feel like it's pretty good. Yeah. That feels nice to me. And then I will also select our sofa, and maybe I'll decrease the IOR level to 0.015 for the specular. If you remember we discussed this option. This is basically for the highlights. So if you set this to zero, it will be completely flat like this. If you want it to look this way, it's fine, but maybe we can increase it to 0.01 or 0.015. We can select the wood right over here as well and adjust the specular for it as well, because I don't want it to look like very shiny. I think this way it looks really nice and the scene feels pretty good. Let's just press F 12 once and quickly see the render. All right, there. So the render is finished now, and I think our glass material is looking right. Maybe if we want, we can just increase the roughness for it a little bit so that it gets a bit more like, let's say, visible because right now it might look like completely transparent. So you can maybe just increase the roughness a tad bit like 0.05 so that it appears to be a bit rough. Yeah, I think the 0.05 value is fine. Also, we can select our sun right over here, and you can see we can kind of see the sun disc. So we can just maybe rotate it a bit and move it out of the frame. If you don't want to see all that. But if you think it's fine in the scene, then you can keep it. But I will personally just move it out like this by rotating it a bit. All right, guys, I think the glass is looking pretty good next. I will also add a glass on the top of our table just to make it look a little bit better. So you can select the table and select this phase, press Shift plus D to duplicate this. Again, hit fight click and press B and separate the selection. We can give this, I think the same glass material or no, maybe we need to create a new one. So first, select the Bindows material and click on this icon to make it like a separate material. Then we can just rename this two last underscore table. We can go in our modifiers and first give it like a bit of thickness. It's move it up like this. Yeah, now it's looking fine. Let's just press S and scale it down a tad bit and we can move the bevel modifier below the solidifier. Yeah, I think this is pretty good. Let's see. You can see it is like a nice bit of addition on our table. We can also maybe select the color and give it like this blue color, decrease the saturation a lot. We just need a small hint of that blue color, not that much. I'll increase the roughness to 0.1. I think that is fine. We don't want it to be too shiny. And, let's just give it a quick render. So press F 11, press J and then press F 12, we render it out and let's see the comparison. Alright guys. So now if you press J to compare between the renders, you can see, our glass is also a little bit foggy. Earlier, it was pretty much like transparent. But now I think it's a bit foggy, which I think is fine. And also we have added this glass lab on top of our table, which I think is a really nice addition as well. So yeah, I'm pretty happy with how the scene is turning out. Let's just save and continue. We can now work on our fridge material. First, let's select this and we can simply give it the iron material. Rick this and select this as well, press Control L and link materials. Maybe I will just select this and create a separate one. Name to fridge, underscore handle. Select this one and give it the same fridge underscore handle material, maybe we can make it a bit brighter. So everything does not look exactly the same. Yeah, I think that's better. Now we can select our fridge, create a new material. We name this to fridge. All right, so now for the fridge material as well, we will be doing something similar. So we can select our wood material, and I will just copy this set of nodes so that we can use the same edge detection method in the fridge, as well. So copy it up, come back over here and paste it. Then we can basically just prehif and add in a mixed color node. And we can plug this thing into the factor, and this can go over here in the base color. With this, what we can do is we can set the color of our fridge to whatever we want. And then we can also adjust the color of the outlines right over here. Like, if we have something like this, then we can make these outlines a bit darker. Also, I will go from 0.999 to something like maybe 0.9, just so the outlines are not a lot. As you can see with this, we have a pretty decent looking fridge material, right over here. Right. So now maybe we can press F 11. This is our cold render, so press J and then press F 12 to give it like a quick new render. Again, the render is done. You can just press J to compare. And I think this material looks fine. I think it looks pretty good. We can also add a bit of noise on top of it, like we have done with all of the rest of the materials. I think that would look nice. But besides that, I think even if you keep it this way as well, it looks pretty good. So to add a bit of noise, we can press Shifty and search for a noise texture. And first, let's just plug this in directly into the base color. So we get something like this to make it appear a lot more uniform on our fridge, we can select it and press Control and then we can just plug in the object texture coordinate. Also, if you don't know about this shortcut, I don't think I mentioned this earlier, selecting any of the texture and then pressing Control we'll bring this mapping and texture node automatically. If this does not happen for you, you can go into edit preferences and just make sure to enable node wrangler add on. This one is a pretty useful and an important add on. So enable it, and it will give you all kinds of different shortcuts in your node editor. And yeah. And now you can see that we get really decent uniform scale for our noise using the object texture coordinate. So yeah, now we can add this noise on top of our fridge. First, let's just decrease the scale so that maybe somewhere around here for now. Then we can just also press Shift A and search for a color ramp node and add that. Using this node, we can control the contrast for our noise, like how sharp we want these edges to look. I think that's pretty good. Let's try adjusting the scale a bit. What I will do is I will decrease this detailed value. So what this will do is this will make the noise look a bit more fluffy. Earlier, it looks like pretty like this way detailed. So just make sure to decrease this value somewhere around 0.5 maybe and that's fine. I maybe adjust a little bit of the scale as well. Yeah, I think something like this. Then finally, let's just plug this back in and then we can use another mixed node so that we can control the color for our noise as well. So just press Shift A, add in a mixed color node. We'll plug this into the factor. And then you can plug this result into the A and we get something like this. So the edges part is still being controlled by this mixed color node. But now the overall base color for our fridge can be controlled by these two. Like if you make them first completely white, and then we can give it first a bit of hue. So make it beige like this. And then maybe we can give it the same color first. So copy this code from the top one and paste it right over here. And then you can just basically make it a bit darker to add some color variation on top of it. Obviously, it won't be that visible because a we are going for, like, a very faintish like noise. We don't want it to be too apparent. So that's why it won't be like that visible straightaway. But I think even adding it a bit would give it like a nice bit of realistic touch to our material. If you press F 11 now, press J and replace this old render with the newer one so that now we can compare it. All right, guys, once again, the render is done now if you zoom in over here, press J. You can see we have added some areas of noise on top of our fridge, which makes it look a bit more like realistic and just a bit dirty. Earlier, it looks like completely flat. But yeah, this way, I think it looks a bit better. Obviously, again, as I said, these things are totally up to your preference if you want to go for this kind of, like, cleaner look or like a bit of noise. You can maybe make it even, like, very grungy as well where you add lots of noise to it. That's totally up to you how you want to do it. Maybe I will just decrease sorry, increase the saturation a tad bit to make it a little more yellowish. Not that much. You can maybe increase it to 0.18. All right. So with that, I'm pretty happy with how the fridge material has also turned out. One thing that I will do is, at last, we can add in the iron material right over here at this bottom part, just to add a bit of variation. So click on this new slot first, press tab on your fridge and select these three phases. This one, this one, and this one. Then you can select over here, create a new material. Instead of creating a new material, sorry, let's just select the iron material from over here, and then you can hit assign. And this way, the iron material will be added right over here. Maybe we can add the iron material over here as well, press tab and select this hold dot, select this completely hole, shift enaugt and select this, and then again, hit assign on iron so that we get this kind of look. I think this way it looks pretty good. Let's just hit save and with this, I think our fridge material is also done, and we have added all the materials on like like on the basic models for our environment from the next lecture onwards, what we can do is we can start working on the props. We can slowly start populating our scene because right now we have created, like, all of the major props, but we still want to make this room look a bit more lived in. So we want to add, like, a lots of props. Like, we can add some books right over here, some stuff on the table, some stuff on the balcony, and that will give a lot more life to our scene. And with this, you can just press J, and again, compare your render. And yeah, I think overall, everything is looking nice. So let's just sit save, and we'll continue from here in the next lecture. Thank you us for watching. 13. Modelling the Balcony Chair : Hello, and welcome guys. So now that we are done adding the materials to our main assets, in this lecture, we will start by adding more small props into our scene to detail it up a little bit more and to actually add life into our scene. So if you go into the reference images now, you will find this chair reference image. Let's just use this to create our small balcony chairs that we can place right over here. So I'll press one for the front view. Make sure to press Shift plus and then cursor to world origin to bring the cursor right at the center, press Shift A image and go into the reference and select your hair front reference image. Let's move it back, and then we can press slash to go into the local mode. Then press three for the right side view, press Shift A, and again, add the side view. Let's move it right over here, and then we can simply start to create it. Press Shift plus A and add in a queue. Press tab to go into the Edit mode, press Control R and hit right click to just add it directly in the middle and enable Xray and just select all of it on the left side. Delete the vertices and add in a mirror modifier. Then you can basically just adjust it on one side and the left side would be done automatically. Let's press three for the right side view, and we can select all of it on the top, press X, and delete the vertices, and then just select this, place it over here, select this, place it over here. Select them both and press E to extrude it out. And just match it with the reference image again, select them both, press E to extrude them out, place them right over here. And once again, we can just extrude them. And this time just press Control plus B to bevel it out. Make sure to press tab, press Control, apply the scale, and you will see that we get this phase in between like Q over here. So we can just delete this quickly. So select this phase, this phase, and this phase. Press X and make sure to select only phases. Because if you select ortics everything would be deleted like this. So press X and select only phases, and then you can specifically select these two edges as well and press X and delete the edges. All right. Now we can press three for the right side, w press tab. Enable X rays, select these two vertices, press Control B and bevel them out like this. Okay. Make sure to just select these two only. So just select these two edges and then press Control B and bevel it out like this. All right. Pretty good. Now what I will do is just to make it a little bit smoother. First, right click and shade or to smooth this and also add a subdivision surface modifier. Now it will kind of collapse like this, but we can easily fix this by pressing Control R and adding one edge lobe right over here, one edge loop at the bottom. Then we can just select these three faces, press I to insert this. Then we can maybe extrude it out a little bit. Then inset this once again, just to add some supporting loops like this. And finally, press Control R Add one edge loop right over here. Add one. Let's see. We can add one over here and one over here. Let's increase the subdivision two so that it gets a little bit more smoother. And now I think it looks pretty good. Press three for the right side view and select this press Shift plus D to duplicate and rotate it like this and match it with the angle right over here. And now you can see that it does not fit in with the reference image properly, but we can just press tab now. Press one forwards, select it all and just move it back right over here. Maybe rotate it a bit like this to kind of fit it better with the overall shape of this. We can maybe press Control R and add one edge loop right in the middle over here and move it a little bit upwards like this and just rotate it to kind of fit it with the overall curvature of this. And now I think our seat is looking pretty good. Kind of get a little bit shading problem over here, we can maybe add one more supporting loop that fixes that. All right. Now I think I'm pretty happy with how this is looking. Let's create the rest of the stuff now, press Shift A and add in a single word, add a single word. If you don't get these options in your mesh and curve menu, you can go to edit preferences and under the add on section, search for extra objects and just enable extra curve objects and extra mesh objects. This will basically add extra objects in your Shift plus A menu. I delete this vertice and press Shift A and add it once again. Make sure to press one to go into the vertice select mode and place it right over here. Press E now to extrude it out and just move it like this and try to match with the reference image simply. I select these two ends, press F to join them, press A to select everything and press F to fill out this phase. Now, if you move it right over here, press tab, and sorry, press E to extrude it out like this. Maybe this merge is pretty good. Go to object, set origin origin Geometry. I will right click and shade or to smooth this, and then we can maybe add in a Bewl modifier. Increase the number of bevels at just the amount. Enable hardened normals, move this upwards. And yeah, I think this is pretty good. We don't have to do too much for this. Now just select it and add in a mirror modifier. And to make sure the mirror modifier is working properly, you just select this dropper tool and select this cube as your mirror object. And now it will mirror the legs perfectly. Let's give them a little bit more thickness, just a tat bit more. Yeah, I think that's pretty good. Press three, and let's see what we need to add next. We need to create these legs, so press one for the front view for them. And I will select these two, press H to hide them. Select this as well, press H to hide it. Let's create these front legs now. So again, press Shift A, and I will just add in a single word and move it right over here. And again, press E to extrude it out and quickly match it with the reference image. Let's make it something like this right over here. Now, once again, just select these two, press F and connect them. Let's just press G and Z and move them upwards, press S and Z, and you can type in zero to kind of flatten them out and make sure they are perfectly a straight line. Press A to select everything and press F to fill out this phase, and you can press plus H to bring everything back. Let's press three, and let's select this first, press tab, and we have it somewhere around here. We can just maybe give it a bit of thickness first. And then we can just rotate it, go to object set origin, origin to geometry, rotate it like this and match it with the reference image. Scale it up a bit, press tab and make sure all of the back faces are selected. Press G then Z, sorry, press G then Y and Y once again to move it in the local direction and just give it. Is much thickness. Yeah, now we can just add in a mirror modifier to this and select the mirror object as this. And this way we have created our table legs as well. Now we just need to create the arm rest. So again, press Shifte add in a cube. Let's scale it down, enable X ray, press tab. Place them roughly according to the reference image. Press one for the front view and bring this right over here, and this one right over here and just make them something like this. Let's see. I'll press seven for top you, press tab, enable X ray, and just move this back part to the right a bit like this so that it does not collide much with the seat of the chair like this. Now we can just add in another mirror modifier to this. And you can select the mirror object as this. Now chair is pretty much done. We just need to do a couple of adjustments to this. We can select this bottom edge, press Control B and bevel it out. Make sure to apply the scale first. Press control, apply the scale, select this part, press Control B, and bevel it out like this. Then we can maybe select this edge, press Control B, and bevel it out like this. I think this is looking pretty good. Right click and shade out of smooth, press tab. I'll select this edge and just move it to the right a bit. And yeah, I think that chair is ready now. We can finally just add in a bevel modifier to this. Add in a bevel modifier, adjust the bevel amount and enable hardened normals. Press one for the front view. Let's quickly just select it all and hide it. Press one now, and let's create this part as well. So again, add in a plane, rotate it like this. Enable X ray, move it down, and scale it down as well. Press tab, press Control R, and add edge loop right in the middle. So hit right click and just delete one of the sides. I'll select this press X and delete the vertices. Now just select the right side, press E to extrude it out. Press S then Z and scale it down just a bit. Again, press E, and X to lock it on the X axis, and just keep on moving it inwards while you are scaling it down on the Z axis. Something like that. And we can add in a mirror modifier. Press plus H, bring everything back. Let's select it. First, let's give it a bit of thickness. Place it right about here. I think we need to delete that phase here select this phase carefully, press X and delete only phases. Now, rotate it on the X axis like this. And we are good to go, I think. Again, shade smooth this and let's add in a bevel modifier to make it a bit smoother. And yeah, our balcony chair is basically done. What I want to do at last is I just want to make the height of this chair a bit smaller because I think this back part looks a little bit taller, so I'll just move it down like this. Enable Xray and just move it down till here roughly. I think this looks a bit more proportional for the chair. Yeah, I think this is fine, Let's just sit save, and now we can press Shift A, add in empty object, so add in a plain Axis empty object. Select it all and make sure to select your empty object at last, right click and go to parent and Select Object. Now we can just easily move this around. Press lash to come out of the local mode. Let's press seven for top you and bring our chair out. Let's go into the viewboard shading. And I feel like this is a pretty good size. Let's just select it all. Let's come back over here, make sure to select it all properly and deselect any of the extra objects by holding control. Then press Shift plus D and you can place it around over here and just roughly give it a bit different rotation. Or maybe we can make it phase this way. Again, go back into your board shading to see how it looks. And yeah, I think, personally, it looks pretty good. I think it fills out the scene real nicely. And now finally, we can just add in the materials to this with that, everything would be perfect. Before that, make sure to select them all and move them into your outlines collection. Only that way we will get to see the outlines added to them. If you press F 11, Okay, we already have the older render over here. So first, let's just select our seat. Select this part and go into your shading tab. And then we can give the sofa material, I think, search for sofa selected, and now select all of the parts of the seat. Then press Control L and L link materials so that all of them have the sofa material. And for this part, we can obviously add the wood material to this. So make sure to select it all properly. Et's select this thing also behind this. And yeah, now make sure to select your wood, so we can select this part, suppress Control L and link materials once again. And now I think chairs are also done. So let's just press F 11, press J, and then press F 12. Okay, first, sorry. Once again, I'll just quickly move them to my outlines collection. So just select it all. Select all parts of the chair, Hold shift, select it all, hold control, and deselect all of the extra objects. Now you can just press M and move this to the outlines collection. Now we can safely press F 11, plus F 12 to render it out. Alright, guys. So the render is done once again now. And yeah, I think the addition of the chairs is pretty nice. It gives the scene a bit more look, and the balcony was feeling pretty empty. So now that we have added these chairs, it looks pretty good. In the next video, we will keep on adding more props like adding some cardboard boxes, adding some books right over here, some snack boxes or, like, cup noodle items. So yeah, we'll continue from over there in the next video. Thank you guys for watching. Let's just sit save, and I'll see you in the next one. 14. Creating the Books and Boxes : Hello, A, welcome, guys. So let's continue adding more props in our scene. But first, I just quickly want to fix up a couple of things in the chair that we created in the last lecture. So let's just select these two reference images, and first, let's just press M and move them to the reference Images collection. And I will just select my chair now. So just select all the parts, and then you can press slash to go into the local mode. And what I basically want to do is if you look over in the Viewboard shading, chair currently looks kind of like this, but what I want to do is I also want to add the wooden material right over here on this area. So let's just add the wood material to both the seats over here on the sides. So to do that, you can just hold out and select all of these loops. So hold shift and ought and just carefully select them all. Select this as well, then hold Shift and just select these front faces. And now let's just go into the material section, create a new slot and search for the wooden material, so select the wood underscore sofa material and hit assign now. And this way, I think Archer looks much better with the wooden part added over here on the side. Let's do this right over here. Again, hold Shift andaut and just select all of these loops. Then just hold shift and select all of these spaces. Again, let's create a new material slot and select the wood sofa and hit a sign. And this way, our chair looks much better to me. Let's just hit save, and then we can select it all once again. Hold control to deselect all of the extra objects and then press Shift plus D and copy it right over here because this one does not have the wood added over on the side, so we don't want to do it again and again, we can just move it over here and just select it all and delete this one. And this way we get the chair added on both sides with the wooden part added over here. Let's adjust this up a little bit. I want to move it right over here, and let's move this down because as you can see, it was flying in the air earlier and select this one as well and just move it down. Let's see. I think something like this looks pretty good. So let's just safe for now, and then we can continue with adding the rest of the props. All right. I think this is fine. Let's just add some books right over here so you can open up the reference images folder. And if you look over here, you will find this books reference image. So we can use this to create some freed books, which is, I think, pretty cool. So let's come back to our solid mode, press one for the front view, press Shift A and search for the image reference and just select the reference image of the books. Let's move it over here on the side, press Shift A and add in a single vertice like this. Press one for vertice select and place it right over here at the start of this book, and then you can simply just press E to extrude it out and kind of, like, trace out these books like this. I'm roughly creating the shape of the books just by pressing E again and again and tracing out it completely. So this is a pretty simple and nice method where we just directly use this type of image, and then we can create whichever book we want to using this. So let's just trace it out completely. All right, guys, we are done now and let's just press E and extrude it till here, and then press E and move it right along the X axis. And now you select this one and this one, press F to join them together. Press A to select it all and press again F to fill out this phase. And then we can just extrude it like this to give it thickness. And now we have created this tab of our books, and to give it like the material, go into the shading tab, create a new material, rename these two books. And then you can just press Shift, go into your viewpot shading, press Shift and search for image texture and plug this in in the base color. And then click over here and search for the books image texture. Select this one. Right away, it won't really work properly as we expect it to. But let's go into the UV Editing tab, and then again, just enable viewport shading. And now what we need to do is we need to UV unwrap it so that we can match it with the image right over here. So you need to press one so that now you are in the front view because we are going to be UV unwrapping it from this particular view only. Press A to select it all, press U and go into the UV and wrapping menu and you can select Project From view. This will basically UV and wrap this particular model exactly from this particular view we are looking at from. So press and select Project From View, and you can see we get this exact shape that we created, and now you can scale it up or down to match it with the books. You can also select the image editor right over here and select the books dot JPG so that you can easily match it while looking at them. And you will see if you just scale it up and now try to fit it all like this. And yeah, as you can see, it works perfectly. Now we have got our books model, and you can see it looks pretty good. Obviously, it looks kind of like stretched from right over here, but that won't really be a problem in our case because we are going to be fitting them inside right over here. So we will be fine from that point of view. And with this, our books are pretty much done. Let's extend this a bit like this. And this is the great thing about using project from view. So make sure whenever you are using Project from view, you are in the appropriate angle. If let's say I selected it from over here, press Tab, press A to select everything, press U and then hit Project from view, you can see it will give me the exact projection of this angle from wherever I am looking at the model from. And now we have got our UV and wrap something like this. If I used it from this angle, then press U and project from view, then I would have gotten it something like this. So you get the point. Let's just undo this so that we get back our books like this. And now you can just select this and select the TV cabinet, press slash to go into the local mode. Let's press three for the right side view, rotate this like this, and scale it down. Go to Object set origin origin, geometry and scale it down like this. Place it right over here. And you can see it fits perfectly like this. Now, the only problem is that the books are pretty small. We cannot really complete the entire shelf. We can press S then Y and scale them up like this, but that won't look good because then it looks pretty weird. So let's undo this. We can also duplicate them like this and create multiple copies of them. This kind of looks fine, but it might look like a bit repetitive. So if you don't want to do this, you have, like, a couple of options. One of them is to just go on Google and find, like, more similar images from this angle and then create, like a couple of more books, and then you can have, like, a bit of variation. But the best thing that I will do is to, like, save up a bit of time is you can, like, first, maybe S then scale it up just a bit on the Y axis like this so that it does not look weird. And then you can press Shift plus D and press Y to duplicate it and place it right over here. Now to switch up the look of them a little bit, there is a nice little trick that we can use. Just go back into the shading tab and select your books over here. So let's select this one and click on this icon and rename these two books under score two. And what I will do is I'll shift A and search for a hue saturation node. Add in a hue saturation node and put it right over here, plug this into here and plug the color into the base color. This way, what we can do is we can control the colors of this particular object. So let's say if I increase or decrease the saturation, you can see it reacts right over here. You can increase or decrease the brightness of them as well, and you can increase or decrease like the hue. So this will give it completely different random colors. You can see earlier it was something like this, but if I change the hue value a little bit, it will give me totally different colors now and the books look completely unique because we have changed the colors a little bit. You can also play around with the saturation a little bit. And, you can see how easily we get a completely new set of books. You can select this press S and Y and type in minus one to flip the books like this and then again, duplicate it, lays it right over here. Let's scale it down a bit, just so it fits like the shelf. And then again, just select it, click on this once again and rename these two books under score three, and then you can again just play around with the saturation or sorry, the hue value and give it completely new colors. This way, you can see, we get a really unique look of these books. And this way, I think they look even better because all of them look pretty much similar, but because they have different colors, it looks like we have different volumes of the same book. So this way, it gives it a really nice effect. And yeah you can see we have filled out our shelf completely. And I'm pretty happy with how this looks. Let's bring this out a little bit. You can give it up with render if you want to. Press F 12 just to see how everything looks. Alright, guys. So the render is done now and we can see the changes we made to the chair I think look pretty good. And also the books right over looks really nice, as well. This way, we can keep on adding more props to give a bit life to our scene. Let's move ahead, hit Save. And next, I will create some simple cardboard boxes that we can place around in some of these empty areas to make it look like someone has recently moved into the house and yeah just make it look that way. So again, cardboard boxes are really simple to create press Shift A, add in a cube, and you can scale this cube down. Let's go back to our layout tab and select this press and move this to the reference images collection, and then you can just select the cube that we just added. Let's move it out. Scale this down, and we can scale it up a bit like this, just to give it that, like, a little bit of rectangle shape. And now just press Control A, apply the scale first, press tab, press Control R, and add edge loop right in the middle. Now you can just press two for select, select this edge, press X, and delete the edges. This way we get something like this. Now again, select them both, press E, and hit right click, press, then Y and scale them both inwards like this. We do this just so we can create these two flaps that we can kind of control and create this cardboard box. Look. And yeah, as you can see, this looks pretty good and pretty similar to a cardboard box, so it was pretty easy to create. Now you can just add in like a solidify modifier to this to give it a bit thickness, enable even thickness and enable complex, I think, and decrease the thickness to a pretty low number. I think this is pretty good. We can also add in a bevel modifier if you want to apply the scale, enable harder normals and decrease the bevel amount. A pretty low number. Yeah, I think this is fine. Now we have created our very simple looking cardboard boxes. Let's move them in. Place one right over here. Tail it up a bit. Duplicate this and rotate it like this, scale it down. Press tab and just move around the flaps a little bit, just to give it a bit different look. Yeah, that's fine. I'll duplicate this one and place it right over here as well. And we can select these two and move them right over here. Just move them around a bit, scale them down. And again, you can just rotate and scale and try to fit them up a bit better in your scene. And this just with these, some extra props, it kind of, like, fill out the loop of our scene a bit better, and let's just simply give them like a simple material, just the flaps of this a bit. So, that's pretty good. Let's just go back into the shading tab. Let's see how it looks first, and then we can give this like the material. So select it, click on New and rename this two cardboard boxes. Again, the color that I will be going for is I'll simply copy the code if you want to use the same. You can do that. This is the code that I will be using. Let's just paste it right over here. And you can see this is like a pretty nice cardboard color. So let's select them all, like all of the boxes we just created and select this one at last, press Control L and link materials. Just move this down. Yeah, as you can see, the scene looks pretty filled out with the addition of this. Yeah, I'll select this one. And I will, like, kind of adjust it up a little bit. Yeah, I think this way it looks pretty good. Let's just hit save and we can press F 11, press J and give it a quick render to see how everything looks. Alright, guys. So the render is done now, and you will notice that earlier, everything looks a little bit too empty, but with the addition of this, it looks like nicely filled out. And similarly, we will keep on adding more props to populate our scene a bit. And yeah, let's just select all of these boxes and make sure to move them. Into the outlines collection so that the outlines show up on them, so press and move them to the outlines section. Let's just sit save now, and I think this much is pretty good. For this lecture, we'll continue from here in the next one. Thank you for watching. 15. Adding Cup Noodles : Hello, and welcome, guys. So let's continue creating some more props. So if you will go in the reference Images folder now, you'll find these cup noodle reference images, so we can use these to add them into our scene, I think it would be like a nice bit of addition. We can add, like, a couple of them on top of the fridge and we can add them on top of our table as well, like, showing that someone was about to eat them. So yeah, let's create that. Press one for the front view, press Shift tape and add the image. So add your reference image. Select this one, and then we can simply just press slash to go into the local mode. And creating this is pretty simple. You press Shift A, and let's add in a cylinder, and we can press tab and enable Xray. Just select the top part and scale it up and just move it till here. Let's create something like that, and then we can select the bottom part and move it down. And again, just scale it up like this. Perfect. You can now select the stop part once again and just extrude it like this. First press three, select this face, press X, and delete the pace. Then you can hold all, select this loop, and let's see. We'll just maybe extrude it like this, hit right click and move it upwards a little bit, scale it out, and then again, press E, hit right click, and then move it downwards and scale it out once again. Just to create like this a small lip and now we can just hold on, select this loop in between, and press Control B to bevel it out like this. Perfect. Right click and shade all to smooth this. And now we have our very simple like cup noodles shape. Let's add a bunch of edge loops over here. And then we can simply U and wrap this to add the material using this texture only. So how we'll do that, you go into the material section, click on New and rename this to just cup noodles. Let's come over to the shading tab. I'll just press slash to go into the local mode and then press Shift and search for image texture, add this and plug this into the base color. Let's view it in our viewboard shading and then select the image texture as this cup noodles. Select this, so you can see it is not really working how we want it to. So first, we need to UV and wrap this properly. So come into the UV editing space, and then you can just select your cup noodles and press slash to go into the local mode. Let's remove the bookstore JPG. We don't need it anymore. Press tab, press A to select everything, and again, press one for the front view, press U, and then project from view. Now you can just select the cup noodles PG so that you can easily adjust it. Enable the viewboard shading. And if you now scale it up, you will see that we have perfectly added our material over here. It might be a little bit problematic just over here where the seam is present. It might be like stretching out a little bit, but I don't think it would be that big of a problem because we will be looking at it like this, let's say, like, kind of, like, pretty far away. So from over here, as you can see, everything looks pretty much right. If you like zoom in a lot, then we see a little bit of issue along the seams, but I think this much is pretty good. And now we can create the top portion of this to cover the lid. So come back to layout. Now I will press seven for the top view, and we just need to add this reference image to create the lid for the cup noodles. You can press Shift A and add in your reference image like this, and then you can simply just place it right over here. Then we can press shift and add in like a simple circle. Let's move this to the side. I don't really think we need this. You can just bring this circle in, scale it up, press tab, press F to fill out this phase. And I think this very simple looking lid is fine. We don't really need to do too much with this. I will adjust this part a little bit, move it up like this. I think something like this is fine, we don't really have to go into creating this type of shape. I think this is fine. Then we can just simply select it, create a new material, and rename this to cup noodles, underscore top and go into the sharing tab now. Let's select them both. And then you can select the top part, press Shifte add in the image texture, plug this in and select the cup noodles to image. Now, it does not really work properly. So again, you need to U and wrap this properly. So press A select everything, press seven for top view, press U and project from view. This way now you can just select it all and scale it up cover in the reference image. I think something like this is pretty good. We don't really have to be too accurate with these things because obviously they will be a very small prop in our scene. So now select them both, press and move them to the reference image collection, and we can just select move it right over here, press Shift plus D to duplicate and create another copy of it and come back to the sharing tab. Now we simply need to use the like these textures to create the variation for them. Select this, click on here to create a new material out of this. And then you can just click on here to openimage and just select this one, and you can see how flawlessly it works. Now we get the different type of cup noodles. Select this one now, again, click on here, and then click on the open Image icon and just select this one. And this way we have very simply created these two different cup noodle items. Also, if you are wondering how I found out these cup noodles images and use them as textures, basically, I just went on to Japanese Amazon and just search for this noodle box query, and then you can find all these different types of noodles where you find these, like, nice textures, which are perfectly straight, and you can use them very easily. Like, you get the top part, and you get, like this front part also. So you can use all these textures to create like various different like variations of them if you want to experiment with that. So yeah, as you can see, these are the ones that I use, but you definitely get a lot of variation right over here. This is a really nice way to find textures. Just go on to Amazon and search for that particular product, and you might find some nice reference images that you can use. Let's close this now, and then we can select them both and just press Control J to join them together. Do it for this one as well, and then you can just scale it down and let's bring them into our scene. Zero to view through your camera and bring it right over here. Where is the other one here? So what I will do is I will place one of them like this right on the table. Definitely need to at just the size of them. Yeah, I think this feels pretty good. Maybe increase it just a little bit. Okay. Yeah, I think that's fine. You can also copy the scale of two different objects by just selecting this one and then selecting this one, press Control C, and then select Copy scale. So I did it in the opposite way. You first need to select this one and then select this one, press Control C, and then copy scale. If you're wondering where I'm getting this Control plus C menu from, basically, this is the copy attributes, add on. You can go into preferences and just select your add on section and then search for copy attributes. If you find it right over here, you can enable it. This is like a 80 nice add on to use. Both of them are of the same size. I don't think we should be placing both of them together. Let's just move this one right over here on the fridge. Rotate it like this. Maybe I'll increase the scale of this just a little bit. I kind of feel like it was pretty small. Yeah, this feels pretty good to me. Let's select this one, scale it up just a bit. Now pressure plus D, move it right over here and place it alongside this one. Instead of placing it like this, maybe we can just, like, give it this kind of placement where we are just placing it sideways on the fridge. I think that would also look fine. You can press R then Y and Y once again to rotate it on the local direction. Rotate it just like this maybe. Yeah, I think this feels pretty good. Then we can duplicate this one as well once again and maybe rotate it something like this and place it right over here. Make sure they are not really, like, uh, colliding with the fridge a lot. Yeah, I think something like this is pretty good. It adds a nice bit of randomness to our scene. Place this one like this. It save. Maybe I'll duplicate this one and place it right over here at the bottom and move it in so that we don't see it that much, just a little bit. Yeah, I think this is pretty good. Make sure to select them all and just put them in the outlines collection because then only we will be getting outlines over them, select them all, press and move them to the outlines collection. Let's sit save, and then we also have the snack Box kind of thing. We can create this one as well. Again, it is really simple to create. Let's just go into layout tab, press slash to come out of this mode, and we can just simply add in a cube. And then we can I will just drag and drop this image in here. Enable X ray and kind of, like, scale it up just to match with this front side like this. I think something like this would be fine. We just need to UV and wrap it properly to fit it with the texture. Now, you can just create a new material, rename these two snack box and go into your shading tab add in image texture and just select this one, plug this in, and it will give you this type of result, you can come into UV editing now. Let's cross this out and select the proper texture. Now what you do is you press one for the front view first. This time, instead of UV and wrapping it projecting from view just press Control, apply the scale, press U, and then just hit like a Smart UV project. Hit wrap, and you will get like this, like all these phases. Then you can select the front face. So this one is the front face, and now just try to, like, adjust it on your own. So press S then scale it up. Just like this. And you can see it is in the wrong orientation, so I'll just rotate it like this. You can do it even here as well, like rotating the face in the UV. I'll just do it right over here. Something like this. Then we can keep on selecting the faces to select this one. You can see now we can just adjust it and move the face around to give it the proper UV texture. So now, as you can see the face is in the opposite direction. So just select your face in the UV space and rotate it like this by 180 degrees. And now it would be straight. All right, that's pretty good. Then we can select this face right over here, to select this one and place it right over here. Can adjust the size of this. Now we get something like this. For the back face, I think we can again, give it like the same as the front one. I think that would be fine. Make sure to select it all and rotate it by 180 degrees so that it is like the proper orientation. And now simply for the top and the bottom one, what we can do is we can just press tab, select this, and just move it right over here in the white space corner so that we just get a proper white background, like for the top and the bottom part. We don't need to, like, glo too much. And yeah, very simply, we have created this. Let's just move it into our scene. Press and move this to the outlines collection, scale it down. Let's rotate it something like this and place it right behind our cup noodles on top of our fridge. I think this way, it is fine. It adds a nice bit of value to our scene. I think this way, it is pretty good. Let's just save. And now we can just give it like a quick render to see how everything looks. Let's come back to layout PressF 12 and just render it out. Alright, guys. So the render is done now, and yeah, I think it looks nice. We didn't really render the old version where we can see, like how it looked without adding these props. But I think the addition of these props is pretty nice. It fills out our scene really nicely, and I think this much is pretty good. For this lecture, we'll continue working from here in the next one. Thank you for watching. 16. Creating Tray and Utensils : Hello, A, welcome, guys. So let's continue working on some more props. But before that, I just quickly notice that the bottom of our cup noodles is looking pretty weird, and I think we can just fix it by adding a weighted normal modifier. So let's just do that. You can select them and add the weighted normal modifier. And you might notice that we still get some shading issues right over here at the bottom. So we can either just select this phase, press I to insert this and give it like a close like loop just to control it all. And as you can see, that fixes it. So you can select them, select the bottom part, and press I and just insert it like this and give it like a supporting loop. Let's do this one as well. And you can also add in the weighted normal modifier to completely fix all of the shading issues. Yeah, these are fine. Let's select this one. Move it upwards a bit. Press slash to go into the local mode, select it, press I to insert it and give it like a supporting loop, and then just add in a weighted normal modifier. Pretty good. Let's do it for this one, as well. And add the weighted normal modifier. All right, so now we are done with this. Let's just sit save. And what I will do is, let's try to fill up the table a little bit because right now it looks kind of empty. So what I was thinking was that we can add in maybe a bunch of utensils and a tray. So if you go into the reference images, I have created these very simple utensils that we can add in and we will be using these. So let's start first what I will do is I will just select this table, press Shift plus cursor to select it, and we can simply just add in a cube. So press Shift A and add in a cube. Now you can just scale this down obviously. And first, let's just create a very simple looking trait. Scale it up something around here, and then we can scale it up a little bit on the X as well to again somewhere around here. Then scale it up a bit on the z axis. And to make it look a bit more interesting, first, let's select it press Control, apply the scale, press tab and select this top face, press X, and delete the phase. So that we get something like this, I'll maybe reduce the height of it just a little bit. And then we can apply the scale, press tab and select all of these phases. Hold all and select it all and then press I to inst them, and you will see it will insert it this way. So press I once again to insert them individually and create something like this. And now what I want to do is I basically want to create a rounded shape around these edges. So now if you press Control plus B, which we usually use to smoothen things out to add bevel, you will see that it won't really work properly because it is creating a bevel this way. So for this one, we need to bevel the vertices. And the shortcut for that is Control shift and B. You will notice now when I bevel them out, I am beveling out single vertices. I can increase or decrease the vertice count by moving the scroll wheel upwards. So we can maybe give it like one or two segments. I think anything more than that would be a little bit too much. I think two is fine. Bevel it out till here and now we have created these rounded shaped faces. Now select them all, press X and delete the faces. This way, we get a little bit interesting looking shape for our tray, and then we can add a solidify modifier to give it thickness. You will see it kind of not working properly over here. So just switch to the complex mode and that will fix that issue. And we can just give it like thickness outwards. Instead of going inwards like this, go outwards this way. I think this much is pretty good and we can move it down. This will be like a nice look on our table. You can move it right over here. Next, we can add in a bevel modifier, as well. So add in a bevel modifier, apply the scale, enable hardened normals, and right click and shade auto smooth to fix these issues. So shade auto smooth this and move the smooth bi angle modifier on the top to fix this shading issue. And yeah, with that, we have got a pretty good looking tray. Now I'll just select it, press slash to go into the local mode, and we can start by adding in the reference image for our utensils. So press Shift A, go to image reference. And let's just add this right over here. So let's just scale it down to kind of fit it within the reference image. I think this much is fine. And these are pretty simple shapes. So select it press shift plus cause it to select it, press shift A and start by adding in a cylinder. Let's scale this down, enable Xray, and you don't have to do much, you just need to match it over here, press S to scale it up, match it right over here. Now press tab. Okay, first apply the scale. Now press tab, select this bottom loop. And just maybe move it upwards over here and scale it down. Again, press E to extrude it downwards, scale it down like this, and we can maybe move it till here. Press E and bring it out till here and scale it outwards like this. You can see how easily we created that shape. Now what we will do is basically we will add in like a bevel modifier or maybe just manually add bevel to smoothen these shapes out. So you can press tab and select the top part, press X, and delete the faces, just to give it that glass kind of look and then we can maybe right click, shade or smooth this first, press tab, press two for select, hold on, and select this loop completely, press Control B and bevel it out. Perfect. We can create this smooth looking shape, and let's do this right over here as well. Just press Control B, bevel them out, and I will do it right over here, just a little bit. So hold on and select this complete loop, press Control B and bevel it out just a little bit. I think this is a pretty nice looking kind of utensil that we have created. If you want, you can add in a solidify modifier, as well to give it thickness. Obviously, we need to give it very low number of thickness. But that's totally up to you. You can maybe even add in a I think this much is pretty good. You can maybe add in a bevel modifier as well later on if you want to. Enable harder normals. And, I think that looks pretty good. Make sure to apply the scale for this. And, that's fine. Let's move ahead. We can press Shift, add in another cylinder, scale this down. Enable X ray, and again, just match it with the reference image by scaling it up. Press tab, first press control, apply the scale, press tab, select this bottom part and move it right over here. Smooth this down like this, and press E, and extrude it downwards till here. Now, to again, create a bit of smoothness in the shape, first, let's select this top face, press X, and delete it. And then we can start by selecting this bottom loop, so hold all selected all, press Control B and just bevel it out like this. I think this much is pretty good. You can give it like a bunch of segments to make it smooth and select it over here, press Control B again and bevel it out like this. And again, we have very simply created a nice looking utensil, rightly and shade how to smooth this, and we can just add in a solidify and a bevel modifier. Let's move the shade smooth modifier at the top, but just a solidify amount and the bevel amount as well. I think we should use the same values. So this is 0.020 0.002 for the solidify and like a very low number for the devil as well. So 0.001 or maybe 0.0 001. Yeah, I think this would be fine. All right, let's move ahead. Again, press shifte add in a slinder and place it right over here now. Just match it with the reference image, press tab, and bring this edge loop up. Now you can press Control R, add one edge loop right over here, and scale it up. And now press Control R, add one edge loop on the top like this and scale it up. Pretty good. Now we can just maybe hold shift and naught, select them both and just scale them out a little bit. Press Control B to bevel them out, not like this. Press two for select, hold all, and select this complete loop. Hold Shift and naught and select this one as well, and now bevel it out to something like this. Shade to smooth this and let's select stop face and delete it. I think this is fine for the most part. It looks right. Ah, now I will just select the top loop so hold t and click over here, press Shift plus D to duplicate it, hit right click and just move it a little bit upwards to create the lid part. You can press P and separate the selection if you want to. And now select the selection that you just separate it out, press tab, A to select everything, E to extrude it out. Hit right click, now move it upwards and scale it in. Again, press E. Hit right click to place it right over there, move it upwards, and just scale it according to the reference image. Okay. Something like this, I think looks pretty good. Press F to fill out this phase so that we get something like this. Now rightly can shade or to smooth this and scale it up just so it covers the lid properly. Now, we necessarily don't really need to add the solidify modifier to this. But if you want to do so, you can add the solidify modifier. Apply the scale and apply the scale over here, set it to something like 0.002, add the bevel modifier. And enable harder normals. Similarly, for this one as well add the solidify and the bevel modifier and just move this smooth biangle modifier to the top. Set the solidify to 0.002, and adjust the bevel amount to a very low number, 0.0 001. And with this, all three of our very simple looking utensils are done, and now we can just place them on our tray, press slash to come out of the local mode and select this press and move this to the reference images collection. Let's select this teapot looking like thing, place it right over here. Let's scale it up a bit. Not that much scale it down. I'll select all three of them press slash to go into the local mode. Select this one as well, prelash now we can just freely place them around, so duplicate this one. Move this one right over here. Maybe we can duplicate this and then to rotate it like this 180 degrees pace this one like this. Create something like that. Yeah, I think this feels pretty natural. We also, don't really want to, like, fill them all up completely. Maybe we can move this one right over here, or no, I think it was fine right here. Let's press slash to come out of the local mode and just take a look at it. Yeah, I think it looks pretty good to me. Let's just now simply add in the materials. So let's go into the shading tab. Enable your Viewboard shading, select this and click on New and just rename the two tray. Again, for this, I will be simply using a color. If you want to use mine, you can do so. It's like a very simple again, B yellowish kind of color, and I think this would be pretty good. For these ones, we can click on New and rename this two. Maybe utensils and just give it a low roughness 0.1. And I think the white color is fine. Select them all one by one. And now select the one that has the material at last, press Control L and link materials. Maybe we can give this zero roughness only. I don't think it matters that much. And yeah, with this, we have added a bunch of more props in our scene, and I think they add, like, a nice bit of value to our scene. Again, we should select them all. And make sure they are in the outlines collection. So now just press and move this to the outlines collection. All right, guys. So now let's give it a quick render to see how everything looks. If you press F 11 right now, this is the old render that we did in the last lecture. So let's just press J and press F 12 to render it all out. All right, guys. So the render is done now, let's just zoom it up a bit and press J. And yeah, this is the newly added prop. Obviously, it is a pretty small prop, so it is not a super major change, but it is still a nice addition to RC. And yeah I'm pretty happy with it. Let's just end the lecture here and we'll continue from over here in the next one. Thank you, guys for watching. 17. Creating Small Props : Hello, and welcome, guys. So once again, let's continue working on some more props. If you will look over in the reference images, we have a lot of different small miscellaneous props like we can create a phone or like a remote for the TV, or some slippers. So let's do that in this lecture. I'll press one for the front view. And let's press Shift A. First, let's select this, press M and move this to the reference Images collection. Now we can press Shift A add in image. And then just select the slippers. Select the front view or the top view maybe. Then we can I think press slash to go into the local mode. As this is the top view, press R then X and rotate this by 90 degrees. So it is something like this. I will also rotate it by 180 degrees. So it is facing this direction. Then press three for the right side view, press Shift A, and add in another reference image and select this. Just make sure to place it correctly. Rotate this by -90 degrees like this. Now let's press seven for the top and start creating this. So it is pretty simple. We can press Shift and add in a single vertice. Press one, and let's place it somewhere around here. Now, make sure to make it really low ally. Don't really add too much vertices on it when you are extruding it. So press E and let's extend this till here. Just use as few vertices as you can, because later on, we will be adding the subdivision surface modifier, so it will be smoothened out anyways. I think something like this, let's just connect them to press F to join them, and let's place it something like this. Maybe we can add one more right over here. Now what we need to do is we need to press seven for the side view, and now just select these vertices and place them like this according to the side view right over here. So now, when you press Tab, press A to select it all and press F to fill out this phase, it won't really work properly when we add a subdivision surface, modify it to it. You can see it gives us this weird shading, and if we extrude it like this, it would be pretty weird because it is like a engon. So engon is basically a face with more than four sides. So this is like a one big face with all these word sees. So that's why it is causing some issues for us. What we need to do is we need to fix this up into a quad topology. So quad topology is basically having all the faces in square like shapes. Not exactly squares, but they should have four sides. So what we can do is we can just select these word Cs and connect them by pressing J to make a quad. So this is like a quad, as you can see, it has four sides. Now we need to do this just on all of the entire slipper like this. So just keep on selecting these word Cs and then press J to join them. And if you don't see any corresponding vertices on the left side, just press Control R and add one right over here like this. And then again, press Control R, add one over here. Select them both press J and join them, select this one, press J, select these two press J, and as you can see, if you select these two and then press J, it will be a three sided face. So make sure to add one more wortic and then just place it accordingly like this. And now you can connect it by pressing J. Now you can see all of them have a proper qua topology with only faces with four sides. Now I will just adjust it quickly so that they are kind of facing each other. Press control R, let's add one more over here and give it, like, a proper shape. And yeah, now it is perfect. Now, if we just go ahead and add a subdivision surface modifier, it will give us nice smoothness like this. Right click and shade or to smooth this, press tab, press A to select everything, and press E to extrude it downwards like this. You will get something like this initially. But what you need to do is first, we can just press Control R and add edge loop right over here. And then press control our Ad Edge Loop right over here. Now, we get something like this, press three, enable Xray, and just select all of these words sees and place them according to the reference image. This will basically give us a very rough shape for our slipper, and we don't mind that because it is a really small asset, so we don't have to be exactly accurate with this. We can be a bit more forgiving here. We can create some a rough shape, and I think this much is pretty good. As you can see, it looks pretty nice and it would be pretty small. Like, I think this much size, it would be like visible in the scene. So for that, it is pretty good. Now we can press tab and select this front face. And just press I to insert this and then press E to extrude it downwards. You can maybe give it like two levels of subdivision surface so that it gets a lot more smoother. And yeah, you can see it looks pretty good now. I'm happy with how this is looking. I will just squish it in a little bit, just a little bit. And now we can create this flap on the top. Press Shift A, add in a plane, press seven for top view, and let's just press tab, press Control R, and add edge loop right in the middle. Hit right click and delete this left side. So press X, delete the word C and add in a mirror modifier. Enable Xray, and let's place this right over here, kind of like using the reference image. Make sure to enable clipping. What this will do is it will connect the word C that are in the middle. If you disable this, you can see they can fly off like this. So make sure to enable this. Now we get like something like this, let's try to adjust it up a bit, move it like this. Press tab and move it up. Let's select this edge, press E, and extrude it downwards, and just move it a bit inwards like this. Press three for the right side view, and press tab, move this one right over here, move this over here. Something like this is pretty good. Now what we need to do is we can press tab. I'll select this and move it just a bit right over here. Press Control R, add one edge loop over here and just move it up and a part like this. Pretty simple. I think this is a nice looking shape. We can now just simply add in a subdivision surface modifier, and it will fix up the shape for us, give it two levels so that everything gets a lot more smoother. Shade or to smooth this, and now you can see it looks perfect. So the subdivision surface modifier helps a lot. You can see earlier, the shape was pretty rough. But with this added, we can make it a lot smoother. Now we can just add in a solidifier modifier maybe, press Control A and apply the scale for it and increase the thickness. Next, let's add in a bevel modifier. Also, this is really not necessary that much because this acid is going to be really small, so the bevel won't even be visible, but you can add it if you want to. Let's decrease the solidify a bit. I think this is pretty good. I'm happy with how the slippers are looking. Maybe I'll just increase the size of this backside a little bit like this. And now what we need to do is just select these two. Let's shift D duplicate and bring it right over here. Press, then X, then type in minus one to flip it so that we can create the slippers for both the feet. And this way, I think it looks nice. We can select these two reference images, press and move them to the reference images collection, press slash to come out of the local mode, select them both, press seven for top, you enable X ray, scale this down and place it close to our like the sofa. Spring this down right over here. Now it's totally up to you where you want to place these slippers. You can even place them in the balcony right over here. You can place them like lying around in the room as well. But I will place them just below the sofa like this. I think it adds a nice bit of effect and they look pretty good. Let's go into the viewpot shading to see how it looks. Yeah, I think that's pretty good. We can just keep them at the default material only. If you want to change the color of them, you can go for it. Select them all and make sure to press M and move them to the outlines collection. And, with that, we are pretty much good to go. Let's keep moving ahead, and let's see. Now we can just add a couple more props over here so we can maybe add in like a book. So let's press Shift A and add in a cube, and we can create a very simple looking book on our table. So let's scale it down like this. Something like this is pretty good. Now to create it a little bit better looking, let's see how we can do that Bs slash to go into the local mode. Let's give it a bit more thickness. Press tab, press three for phase select and select these three faces, press X and delete them. Now we have the book cover, press Control, apply the scale, press tab and select these two edges, press Control B and bevel them out like this. To create a smoother shape for our book cover. Right click and shade how to smooth this. Now you can just press Shift plus c to select it and add in a cube right in the middle over here and scale this down and scale it up to create the pages. Extend it to the corners. We can maybe add in a solidify modifier to this as well, decrease the thickness. And we can add in a bevel as well. Apply the scale adjust the bevel amount. Let's set this to 0.001. Yeah, that's pretty good. Enable hard and normals. And we have created our very simple looking book. Let's press slash to come out of the local mode and see how everything looks. Yeah, that's pretty good. Let's just select them both, and we can maybe disrotate them a little bit. And, that's nice. Let's add enough material to this. Go into your Bubod shading, select these two first and make sure to just bring them down just so they are touching the table properly and not really flying off the surface. Select this and give it a new material, rename this book. We can give this like a simple dark color. If you make it a bit bluish, and yeah, that's fine. Yeah, I think this is pretty good. Let's just hit save, and we can select the book and the pages fresh Shift plus D to duplicate it and paste it right over here as well on the sofa. Rotate it up a bit to kind of match with the orientation of the sofa. And I think this is pretty good. And yeah, this adds a nice bit of effect. Rotate it like this, maybe. I think this was fine. Let's give it a quick renderm. Make sure to select your book and the pages too, and then just move them to the outlines collection. So press M and move this to the outlines collection. Alright, so now time to render it to see how it looks, press F 11. And this is our old render, press J, and then press F 12, you just render it out. Alright, guys. So the render is done now, and I think it is looking pretty good. The outlines look really nice on the book and on the slippers, as well. You can press J to kind of compare it between the two. And obviously, these are not huge props that will add a lot of detail into your scene, but these are like some subtle props that will make your room look a bit more lived in and obviously add these subtle details. Which take your scene from good to best. And yeah, I think these additions are really nice and we can keep on adding a bit more things to just detail our scene up a little bit more because even as it is right now, it looks pretty good. We can wrap it up over here and add some compositing and some lighting effects. And we will end up with, like, a really nice looking scene. But let's just spend a bit more time to add, like, some wall props, a bit more props over here on the table. And then we can have a really nice scene to put up in art portfolios. Let's continue with this lecture, and what I will do is we can create, like, a remote right over here for the TV. So if you go in the reference images, you will find this very simple remote reference image. So again, let's just bring this in. I'll come back to solid mode, press one, press Shift A and add in image and select this one this time, press slash to go into the local mode. This is a really simple prop, so we don't really need to duplicate this to add a side view as well. I'll create it very easily, press Shift A, add in a cube, place it right over here, enable Xray. Now just match it with the reference image quickly. This is fine for now, you can just bring it right over here and rotate it by 90 degrees to bring it to the side view, press tab. The job of the front view is done. Now, you can just quickly adjust it in the side view. Now, we get something like this, press Control A, apply the scale and let's select this edge first, and then we can press Control B and bevel it out, give it like very less segments. Let's go with two, something like this, press one and just adjust it now. Press control R, add one edge loop over here and just make it a bit more smooth like this. Now you can just select this edge, press control, B to bevel it out, and there is a nice shortcut. While you are beveling like this, you can also press the PK to control the profile of this and you can see you can adjust the profile. And if you again, press control, let's bevel it till here like this. Now we can just press P to control the profile to give it a bit more control and place it like this. You can also later on control the profile from the shape. So I think it is pretty handy. Let's place it somewhere around here and just adjust the vertices manually a little bit to give it the perfect shape. And here, now you can see we get the proper shape for our remote. We just need to add, like a bit more bevel over here as well. So press tab, select this press Control B and bevel it out. Make sure to apply the scale first, and again, bevel it out like this. Set the shape back to 0.5 so that once again you get back to the default. And now let's just select this part and we can bevel it out a bit over here as well. And, with that, we get our remote done, right click and shade or to smooth this, we can maybe add in a bevel modifier as well just to adjust it a bit. Right click Open up the shading tab and enable hard normals. And with this we are done. Let's just texture now, so go into your material, select this viewpoard shading, click on New. And this can be the base remote. Just make it a dark color and then give it a bit low roughness. Now to create these buttons and all, obviously, we can spend some time. We can easily add all these, let's say, cylinders and we can spend some time creating the remote properly, but I think that is a waste of time because it is going to be a really small prop. So the way we are going to add the texture on top of this is really simple. You can select this, create a new material, so add a material slot, click on New and rename this to remote front. Let's come into the shading tab, press slash on the remote and go into Vucd shading, add in a image texture and search for remote. Just plug this into the base color, press tab and select this front face right over here. Select the front face, select the material remote front, hit assign. Now we get something like this. The material is not really fitting correctly, but you can go into the UV editing, and now it's time to work on the UVs a bit, select the remote GBG and just select your UV. Select the viewpoard shading and just place the UV according to the remote like this. And you will notice that pretty easily you will get. Okay, sorry, we need to rotate it first, select it all, select the face and rotate it like this, I think by 90 degrees and now adjust it once again. So make sure the face is in the current orientation, move it up, move this down. Okay, so I did it incorrectly. Once again, just press R, then type in 180. And yeah, that will fix the remote. And with this, our remote texture is done. Obviously, it is totally flat, but if you are viewing the prop at a size, something like this, it won't even be visible. You can see from over here, it looks pretty good. Now, just select the remote material and make it a lot more smoother. And with this, we are basically done. Come back to your layout tab press slash to come out of the local mode. Let's select the reference image, press M, and move this to the reference image collection. Let's scale the remote down. And we can place it right over here on the table. I think it's a bit too large in size right now. Yeah, I think this is pretty good. And again, as I said, this is like a really small prop, so it won't even be noticed by someone, but it's definitely nice to add these subtle details. And with this, we are done. Let's just sit save. And in the next lecture, we will keep on adding a couple more props. So thank you for watching. I will see you in the next one. 18. Adding the Clock and Wall Shelf: Hello, A, welcome, guys. So let's continue making our props. In this lecture, let's add a couple of props over here on our wall. We can maybe add a shelf over here and we can add a wall hanging clock. So that would add a bit of detail because right now the walls look a bit too empty, so let's do that. We can just start by pressing Shift plus A and adding a Q. Let's scale this down and move it right over here. Et's come back to the solid mold. We don't really need the shading right now. And let's see. Yeah, maybe something like this, and then we can increase the size of this just a little bit like this. And now we basically need to add a couple of props over here to fill out this space. So now what I will do is maybe we can reuse a couple of props. We can add these utensils on top of it. Select it all duplicate it and move it right over here. Select them both press slash to go into the local mode and displace it right over here like this. But Maybe we can place them this way, and then we can create a couple of other props. Let's see. We can create maybe a nice photoframe right over here. If you go into the reference Images folder now, you will find this photoframe image. I have added. So let's bring this in. I'll just press three and just drag and drop it like this. Scale this down, and let's see. We can create it. I think this much size is pretty good. Then we can press Shift plus because it's selected press shift and add in a cube. So just scale this cube down and make it the size of this image. Just make it a bit larger because we do need a bit of border for the frame as well. So I think this one is pretty good. And then you just press Control, apply the scale. Make sure to decrease the thickness like this as well. Let's move it back. Press one for the front view, sorry three. Select this image and select your image, go over here and make sure to enable perspective. Because you will notice whenever you go into the perspective mode, it disappears. So just enable it from over here and yeah, it is right over here, so just bring it back. Also, if you just disable it, you can see it disappears, so make sure to enable it. All right. Now we can press three. Select the frame, prestab, press control, apply the scale, prestab and make sure to select this front face. Now press I to insert this and insert this still here and just extrude it backwards like this. Pretty good. Now we can just give it a bit bevel. Add a bevel modifier, apply the scale again. And yeah, that's pretty good. Enable hardened normals for this and go into viewport shading, and let's just select this and we can give it the wood material. So let's give it the wood sofa. You can select this one as well and give it the wood sofa material only. But what I will do is I'll just go into the shading tab. Press slash and press zero to view through the camera. And let's see. I do want to make it a bit darker. So let's select this and just tone this down. Undo this, sorry, select this part and click on here and rename this to wood underscore shelf so that we only edit the material for this and just make it a bit darker. I think that's pretty good. Now we can select this, press tab and select this phase. Click on This plus icon to add a new slot, click on new material, and hit assign, so that this gets the different material and rename this to Photoframe Select this now, and over here we have this press Shifte add in image texture and select the photoframe texture from over here and plug this in. Again, we need to just properly edit this in the UV editing. Press slash to come out of the local mode, and let's see. Select this, select this phase. Let's close this image and select our photoframe texture. Scale it up first to see if the orientation is correct, and it is not, I think. So let's rotate it. I think rotate by 180 degrees. You know, again, rotated by 90 degrees. And yeah, now I think it's correct. So just make sure to properly fit it. Yeah, now it's working. And I think our frame is looking pretty good. Let's select it pre shift plus because you select it, preste add in a plane and rotate this plane on the y axis by 90 degrees, scale it down, bring it out on the X axis, scale it up a bit, and we can create a glass like thing. Click on new and rename this to frame glass and give the glass BSDF and we get something like this. Pretty good. Let's just decrease the roughness to make it a bit shiny. And now our frame looks all right. Let's select it and we can just make it a little bit tilted like this. I Let's select this part, come back to shading. And I'm just trying out the color a bit differently. Let's try. I'll select it and maybe decrease the saturation a bit for both of them. Yeah, I think that's better. And also select the utensils that we kept over here in the corner and maybe increase the scale of them a bit because they do look pretty small. They are not even visible in the scene. Let's select this and we can add in a bevel modifier as well, apply the scale, and just the bevel amount. And for the last prop, maybe we can just create a simple Rubik cube. Select this press Shift process cursor to select it, shift, add in a cube, and it is really simple to create something like that. Yeah, I think the size is fine. You select it, come back to layout. Press slash, and again, press slash to go into the local mode. Press tab, first apply the scale, press tab, and add three edge loops like this. Hit right click, again, press Control R, add three edge loops like this, use your scroll wheel, add three edge loops, and hit right click. Again, do it over here as well. And now you select all of the faces, press I to insert them and press I once again to insert them individually and just insert it just a little bit. Like this. I think I by mistake, added one extra edge loop, so undo this. Just add two edge loops hit right click. Yeah, because we need to make a three by three cube. So now select it all, press I and insert it just this much press all plus E and extrude face is a long novel. Yeah, we have very easily created our cubic cube. Let's add in a bevel modifier and adjust the bevel amount. Set this to 0.0 005. I think that's better. Give it a material and rename this cube base. Just make it like dark. And give it a low roughness. Next, keep on adding new materials, rename this one to red. Give it a red color, press tab and select all of these faces and select red, hit a sign. Again, add new material, rename this to blue. Give it like a blue color. Press tab, select all of the faces and select blue hit assign. Similarly, just select it once again. Add a new material, click on New hit assign, and this can be just simple white. Rename this to white. Again, click on this plus icon. What other colors do we have? We have yellow and green, I think. So select this, click on New and hit assign and change the color to maybe yellow. Yeah, that's fine. Rename this to yellow. Create a new material, and this can be green. Press tab and select the faces and hit a sign. Last can be, I think, orange. We have orange on the root cube. I'm not sure. And it a sign. The yellow and orange might be a bit similar, so just make the yellow a bit brighter and saturated like this so that we can easily differentiate. Yeah, that's good. Just rename the materials just to have everything organized and we are done. Let's slash to come out of this mold. I think the cube is a bit too big, scale it down. I will rotate it like this on the y axis by 90 degrees. Yeah, I'm pretty happy with how this is looking. So let's just select it all. Hold control to deselect all of the extra objects and just press M and move this to the outlines collection. Select this one as well and move this to the outlines collection. Just collapse this and let's see if we have anything left. So we have the remote, then we have what else? Like these boxes. Okay, we forgot to add them. So let's select them all as well. I'll deselect the books. I don't think I want to add the outlines on them. So just select these three, press and move this to the outlines collection. Simple, let's press F 11, and this was our old render. Let's select this, press F 12 and render it out. All right, guys, so the render is done, and if you just press J now to compare it between the old render, I think the wall filled out looks pretty nice this way. Earlier, it was looking like kind of empty, but now we have filled it up. And yeah, I'm really liking how the scene is turning out. Let's just say Save and continue. Maybe we can add in a wall clock right over here next to it, that will complete the scene really well. I don't really like the colors that I have placed right over here. We try something like this, and I will make the green a bit less saturated to fit it well with, like, the overall look of the scene, because it was looking just a bit too bright for my taste. Yeah, that's fine. Let's just save and continue. Now you can go into the reference images and just select this one. Where is it? The clock, we can use this as a texture as well, and we can use it as a reference image. So come into the solid mode. Let's press one for the front view enable X ray, press Shift A and add in the image and select this clock. Press shift test cause her to select it, press shift and add in let's see, a cylinder, and then rotate it by 90 degrees. Scale it up just to roughly match the shape, scale it down like this. Right click shade all to smooth this. Now we can just select this front face and press I to insert it till here. And then let's just extrude it inwards like this, maybe scale it down a little bit, and we have a very basic clock shape to make it look a bit better, select this part and bevel it out. Make sure to apply the scale first, and then just bevel this part out. I'll undo this. I don't really like this lo. Instead, we can maybe press control add edge loop right over here in the middle. Let's bring this out a little bit and then bevel this part. Then select this loop, press G twice to move it along the edge and move it down a little bit and then bevel it out, just a tad bit. I think that's better. I will select the clock, move it out a bit. I think all this is fine. We just need to add the clock texture right over here and select this press Shift plus S c it to select it and just add like a glass material in front of this. So maybe we can press tab and just directly select this loop, let's say, press Shift plus D, right click and press P and separate the selection. Select the selection, press tab, press A, to select everything, and press F. Fill out this phase and we have our glass material. Let's go into the shading and we can select the frame glass. And we have the glass working. Next, select the clock and give it the clock base. And for now, we can just make it anything. I'm not really deciding on the clock material right now. Let's just keep it like this. Click on new material and rename this to clock texture. And once again, just select this phase. I'll hide the glass for now and select this phase. And hit a sign on the clock texture. Now we can come into shading and just quickly where is our clock over here, selected, and then just press Shift add in image texture and select the clock over here. Plug into base color, and now we need to go into the UV Editing tab. And you can see this face is kind of like weirdly shaped. So first apply the scale, press one for front view, press tab, and just select this phase right click or sorry, press U, and select Project from view. This way, it should be working properly. Let's just close this and give it the lock texture. Yeah, now it is working. Just scale it up properly and match with the reference image. And, we have our clock as well. Press plus H to bring back the glass. And it looks kind of weird. Select the glass and let's see. We can set the IR to one to make it appear absolutely flat like this. If you maybe give it a bit of IR, 1.33, I think that's fine. Just move it a bit close like this. I will select the clock as well, press S then Y and squish it down a bit just to make it something like that. Now let's go back to the shading tab and a couple of things that I want to do. Select this material, the clock texture one, press Shift, add in a hue saturation value node, and plug this between both of them, so that we can control the hue of this, but that is not what I want to do. I just want to decrease the saturation a bit, not that much. Somewhere around here and decrease the value a bit to make it darker, so it goes off with the overall vibe of the scene. You can select the node and press to mute it and see the effect it adds. Let's select this material next, and I'll just decrease the roughness on this to make it pretty shiny. Overall, I think the material for it is fine with something like this. Let's just select it rotate it by 90 degrees, scale it down and bring it right alongside our wall. Where is it? Just bring it in the room and place it with the wall and scale it down, obviously. Yeah, I think it looks pretty good. I will select it and maybe make the color a bit, lighter. Not really sure what I want to go with the color right now. I think it's fine if something like this. Let's just render it out and see the results first. So let's just select it all and just press and move this to the outlines collection. Make sure it is not really going inside the wall. Press F 11 and press J once again, press F 12 to render it out, and let's see how it looks. Alright, guys, so the render is done. Let's once again check it out. And honestly, I kind of like the overall look of the clock. And also because we changed the material of the glass a little bit, you can see it becomes a bit brighter, and I think it looks better this way. And yeah, with this overall, I'm pretty happy with how the scene has turned out. I think I will just add one more prop where I will add a small phone right over here on the table. So let's go back into our reference images and you'll find this simple phone reference image. I've just added this because to get the proper dimensions, otherwise, the shape of the phone is pretty simple anyways. Press and move this to the reference image collection. Press Shift, add in the reference image, select this. Let's just quickly create this out. And then I think we will be done with our scene, like adding all the props and stuff, we still have to do a bit of compositing and fixing up the colors and stuff to make it look a bit better because right now it kind of looks a bit dead in colors. Animes in general have colors that are very saturated and pop out a lot more in general. So we'll do all those things in the compositing section, and we'll be taking like screenshots and doing some compositing in Photoshop, as well. So yeah, we'll be doing that. Let's just wrap up with the props first. Something like this, and then we can select it controlling apply the scale and just select all of these corners so hold Control and all and just click over here, select them all, press Control B and bevel it out like this. Really simple. Apply the scale, shade or smooth this, press tab, and let's select this front face. Inset this a bit till here and maybe insert it once again just a bit and then just move it downwards like this. Be it like this sort of edge. I don't really want to go super detailed with this phone model, and we'll just make something really simple. Enable hardened normals, and just the bevel amount. That's pretty good. Maybe we can add in like a couple of buttons on the side, so place these edge loops over here, over here. Maybe we can add one over here as well. Like a small one and then just select these two, press I to inset, and then extrude it out a bit. Let's select this one, press I and extrude it out just to let let's select the bottom part and we can press control our Add to gloves over here. Inset this a bit, scale it down and just extrude it inwards, create something like this. I think this is pretty good for the phone model. Let's just add the material to it, again, click on new. Rename this to phone base. And again, I will just make it a dark material. Click on new, rename this to spree and this one can be again a dark material, but very low roughness. Press tab, select this, select the screen, hit assign. Just make the color a bit more darker. And yeah, I think we are good to go. For this one, I will select the base material and make it a bit brighter, maybe, just so we can easily differentiate. So press seven for the top view now rotated by 90 degrees -90, I think. Enable Xray and just scale it down. I think the size for it is fine because phones generally come in, like all different types of sizes these days. So we would be fine. Let's rotate it like this. And now we can hit Save. Maybe I want to one more last prop. I will select this cup noodles back cursor press Shift, add in a cube, scale this cube down a lot, scale it up like this, then we can create some very simple looking chopsticks. Rotate this by 90 degrees. Enable X ray and select this part and make this part a bit wider and make this part a bit thinner. Now, let's just duplicate it and place them both right over here like this. I think it would be a nice bit of tradition for the cup noodles. Yeah, it looks pretty good to me. Maybe we can add some spare chopsticks right over here on the table. Potato them like this. I yeah, pretty good. Let's select them all and make sure to put them in the outlines collection, so press M and move them to outlines. Let's come over to Viewboard shading and select this, select this, select all four of these, and we can select the sofa, press Control L, and link materials. I think the color for chopsticks is fine this way. Let's move this down. No, I think I will make it a bit brighter. So I'll click on here and we name this to chopsticks material. Now, just select this where you add the material and select the rest of them. Select this one at last, breast Control L and Li materials so that all of them get the chopstick material. Come back to your shading. I'll just make it a bit brighter overall. Yeah, I think this color feels a lot better than earlier. Let's just save. And with this, we are officially done with the props and everything of our scene. Let's press F 11 and give it like one last render. Alright, guys. So the render is done, and we can see how these things like these small details add, like, a lot of value to your scene. And we can see that we have come a pretty long way with our scene. We have added all these props. And now the scene actually feels like lived in like someone lives here, and it tells a small story. And now I'm pretty happy with how everything is looking. So we are done with the modeling and the texturing part. In the next lecture, we will be working on the lighting a bit and doing some compositing and just taking some final renders for our scene. So thank you guys watching. I will see you in the next one. 19. Adding Fridge Stickers: Hello, and welcome, guys. So I'm just making this very quick video to add a couple more things in our scene before we actually start to take some final renders. So if you go into your course files and in the blender files folder, you will find this plan dot Blend file. This is basically like an extra prop that we can add in our scene to make it look even better. So just select it all, press Control C and copy objects, and just paste it right over here in your scene. We can select this empty object, which is the parent of it to control it all and place it right over here in our balcony. I think this will add a bit more like nice look to our scene. And if you don't want to add it, it's totally okay. You can skip this one out. I'll just move it down like this and select the parent object now. And let's see, we can definitely scale it down a bit, something like that, and just place it right over here. I think it looks very nice in a balcony this way. Next thing that I want to do is I want to fix up the colors of the fridge a little bit, so go into the shading tab and let's go into a viewport shading and select our fridge and select the fridge material from over here. So right now it is like a bit too yellowish for my taste. I'll just select this mixed color note select the A and just make it completely white, something like that. And then for the B input, I will directly copy a color code. If you want to use that, you can definitely do so. I'll be going with something like this. And over here, which is basically the outlines color, I will be going for a little bit darker color, which is something like this. And yeah, that is what I basically want to do. Maybe I will make the outlines color a bit more brighter, so something like 0.6 A. Yeah, I think that is a much better look for our fridge than earlier. Next thing that I will do is I will add a couple of stickers on top of the fridge just to add a nice bit of detail. Select it. Press shift process further to select it and let's add in a plane, rotate this plane by 90 degrees like this and scale it down. Let's come back to layout for now and in the solid mode, and let's place it accordingly. Scale this down a lot something around here. Et's move it back. Let's place it somewhere around here like this. Let's go into the viewport shading ones and just make sure it is floating right above the fridge surface, just like this. So somewhere around here. And right now it looks pretty weird like it looks very flat. So to make that work a little bit better, you can go into modifiers and add in a subdivision surface modifier. Apply the scale and just give it two levels, press tab, and now add in a bunch of edge loops on the corners. This will give it a bit better look than earlier. And now to make it look even better, what we can do is we can press tab and select these corner vertices and just move them ahead a little bit like this. Like just move them around in any direction, basically, not backwards. You can move them in the front or left or right a little bit to give it that paper kind of look where the paper is kind of curling around the edges so that it does not look like entirely flat. This will really help a lot in making the sticky notes feel actually like paper and not really just flat three D planes. Then come back to our viewboard shading and just add in a material to this. Let's rename these two nodes and just give it like a yellowish color, something like this. Now you can just duplicate it, bring it down. Let's move it right over here, rotate it up a bit. Again, just select the corners and try to move them around here and there. But but not a lot, just a little bit, so that it does not end up looking weird. You can rotate them like this. Again, to begin this one as well, press S then X. Sorry, S then Y and type in minus one to flip it on the Y axis. Now we can just select this one, maybe click on here and give it a separate material like a green colored note, just so we have a bit of variation as well. Send the colour to something like that. For the yellow as well, maybe I will make it a bit brighter. And now let's just duplicate them once again. I'm just flipping them around and rotating them up a bit to give it a bit unique look. And you can see with them added the fridge looks a little bit more authentic in a way. I just make them a little bit curled up around the edges, that should do the trick for making them look a bit more random and actually like papers and not just three D planes. And yeah, with this, I think I'm pretty happy with it. I do want to, like, maybe reduce the scale of them a little bit, so just select them all. And instead of scaling them down like this, you can go here and select individual origins and then scale them down so that they all scale down on their individual origins like this. Now just move them around. Or the green color something like this is a bit better. Yeah, I think I'm happy with it. Let's just move these also to our Outlines collection only. Press and move this to the Outlines collection. Let's give it like a quick render to see how everything looks finally. And with this, we can actually start to work on the final renders after this. All right, guys. I think, I'm pretty happy with how the final scene is looking. Now, just to make it look a bit better, we will be compositing it in the next video. So thank you for watching. I will see you in the next one. 20. Final Compositing and Renders: Hello, and welcome, guys. So this is going to be the last lecture for this course. So let's do some compositing for our environment in blender and Photoshop and also take some final vendors for our portfolio. All right, so to start off, let's just quickly press F 12 and give it like a quick render. Alright, guys. So the render is done now, and if you look at it this way, I think our environment looks pretty good. But let's just close this now and come over to the compositing tab. Over here, you can enable use nodes, and we can edit the render even further. So to get more space, what I will do is I will just go over here in the corner and collapse it like this. And then again, go over here in the corner and create a partition so that over here, we can select the image editor and undo the image editor, search for render result. So render result, selected, and this is the render that we just made. So the reason I'm doing that is this way, we can add the nodes over here and see the changes over here in our render. So to start off, obviously, the render looks pretty good, but all these stylized and anime inspired environments are pretty saturated in colors. And right now our environment looks pretty dead in terms of that. It is really unsaturated. So press Shift and search for a huge saturation mode. Just plug this in and you will see what will happen when I start to increase the saturation nodes slightly. You can see the saturation of the color increases, so not that much, we can go with something like 1.2. And to see the change in action, you can select the node and then press. And you can see even just adding this saturation node is like a lot of help. Earlier, the colors were looking like really dead, but now it looks pretty good. So the saturation works, then we can add in something like a glaer node. So press Shift A and search for a glare node. Add the glare node, and instantly, you will see like these sparkles added onto your bright spots of the light. And I think this looks pretty cool as well. But let's just edit it a little bit. So instead of streaks, we can go with something like bloom and what I will do is I will decrease the threshold. So the threshold is basically the option to control what parts of your environment should get the blue. So if it is set to one, that means only the brightest parts will be getting the blue. But if you keep on decreasing it, what will happen is basically a lot more areas of your environment or the scene will start to get the bloom. So you can see earlier when it was at one, only the very bright areas were getting the blue. But as you keep on decreasing it, slowly, you will see over here also, it's starting to appear. On the lesser bright areas. So to get this soft dreamy glow type of effect, we can decrease this to zero. And now we can adjust this mix option over here. So the mixed option will try to kind of mesh both of these a little bit better. So we can set this to something like -0.9. We get something like this, obviously, it is not optimal, so decrease the size of the bloom. And this will give you a really nice result. So if you select the glare node now and press to turn it on and off, you can see we kind of have added a little bit of brightness in our scene, and also the bright spots glow a little bit. If you want to make them glow a lot more, what you can do is you can press Shift and add another glare node and just plug this in, and you will see now you have kind of layered two different glare nodes. So one of them is for the overall brightness of the scene like this. And this one is just for the really bright spots over here. You can also increase this color value to add some like these color effects over here in the corner. I think they look pretty cool. Like a little bit of chromatic aberration, as you can see. Earlier, it was not present. This is a really nice small addition in R scene. You can also adjust the type of your glare node. So bloom we have already used, you can also use a simple star, which will give you this type of result. If this is what you want to go for this sparkly type of effect. I think this would also look right. You can now adjust the threshold and a mix to adjust where you want to add this effect. If you increase the threshold, it will basically start to decrease. The effect would start to decrease, and if you adjust the mixed value, you can also control the effect. So it is totally up to you which one you want to go for. I think I will be selecting the streaks one only. I think this one looks cool. Ease this color value a bit. And yeah, I think that's nice. So you can see we have added, these two different nodes to add a bit of, like, glowing effect onto our scene. If you select all three of them and now press M to turn it off, you can see how we have taken our environment from looking like kind of dead and gluey to a little bit more bright and colorful. So it pops out a lot more and just a little bit of compositing goes a long way. Now, these are like some of the basic nodes that I was going to add. These are the only ones that I will be using. But let me show you like a couple of more that you can use if you want to. So let's press Shift A and there is a nice other one, which is the Quaa node. What this will do is basically it will give your environment or the render a kind of painted effect. So if you plug this in between, you'll see now the environment is looking like really painterly. So obviously, this is like a lot, so decrease the size to kind of decrease the effect. When we are at around two or three, I think then it would start to look a little bit better and not as much like these painterly strokes. Now it is starting to look a little bit more less of a painting. And if you keep on decreasing it, the effect would keep on decreasing as well. So if you want to add a little bit of this painted stroke type of effect, you can definitely do that. You can see if I just turn it off now. Earlier, everything was pretty crisp. But having this enabled like this Kujara node will kind of fuzz out the details a little bit. So if you want to add this type of effect, you can definitely go for that. I don't think I want to add this, so I will just remove this node and delete it. Next, you can also press shift and search for the filter node. Now if you plug this in right now it is sent to the soften filter, which as the name suggests, it will just soften out your edges, but we don't really want that. Instead, we want the box sharpen filter. This is a lot, but it will sharpen your edges. We don't want it at this much amount, you can definitely decrease the factor to a very low number, so something like 0.1. This does have a really nice effect as it will sharpen your edges out a lot and make them pop out. So if you turn it on and off, you can see kind of the difference between the two. If you want, you can increase it to like 0.2, and it will look something like this. Obviously, the edges are looking really jagged, but that is because the image is very small. If you press, let's say, if we just zoom it up a bit like this, now you can see the edges don't appear as jagged as earlier when it was like zoomed down. Like this, because the size of the image is small, that's why the edges are appearing jagged. But if you just zoom it up a bit, it would appear fine. So yeah, this is a really nice effect. If I just turn it on and off, you can see the effect it adds. So if you want, we can definitely keep this one in, but I will be adding it at a lower value. So something like 0.1 is going to be fine, in my opinion. Because we can add these things later on in Photoshop as well, like the sharpen filter. And next, what we can do is we can also press Shift A, and let's say we search for color balance. The color balance node will basically help you adjust your shadows, highlights, and all those things. So if you plug this in, nothing really changes, but we can change the colors if I move them around. Like this. So this is a little bit of color correction for your render. Now, the reason we have these three different color dialysis. So one of them is lift. So if you hover over it, you will see lift is correction for shadows. So it only works at the darker areas of your scene. So if I said this to let's say blue color, you will see all these darker areas are getting this blue color defect. While if you just let's set it back to zero. Now, this one, the gain, if you hover over it, it is for highlights. So highlights are like the brightest parts of your areas. So lift is for the darkest part, the shadows, and gain is for the highlights. So if you said this to blue, now we can see the really bright spots are getting turned into blue color. And the gamma is obviously for midtones the middle colors that are neither dark or really bright. So all three of them serve different purposes, if you change them to different colors. You might be able to see the difference. So right now, the gama is set to blue. So that's why overall it is appearing bluish, but if you zoom over the really bright spots, they are appearing like kind of pinkish. And if I set this to red in the shadows, I think this is a bit too much. Let's decrease this. Now only the really dark parts have turned into that reddish tone. So these are like three different options for color correcting your image, and you can also control the overall factor of it. So if I set this to something like this, then I can also control the overall factor using this slider. If you really just want to add 0.1 of this effect or a little bit more, that is totally up to you. And this slider, this will basically give it like brightness or darkness. You will see if I set the gain value to a darker color, only the brightest parts stay a little bit bright. And if I make it bright, all the highlights, blow out kind of. Yeah, if I decrease the lift, you can see now the shadows are really, really dark because the lift is for controlling the shadows. And this is for the overall tone of the image. This is only for mid tones. So this is like the color balance. But again, I think these controls are provided much better in Photoshop. So if you know that better, you can definitely use these things over there. We also have a color correction node, which gives you, even more control with these things. But honestly, I don't understand it that well, so that's why I'm not really going to use this you can control the saturation on, let's say, just a single channel. So now only the red parts are being saturated, and this gives this, like, a totally different look, you can see. If you turn it on all three channels, this is like normal saturation. But let's say we turn it on just two of them. So the red and green. So this will give us a totally different look. And actually, this looks pretty nice as well. If I decrease this to something reasonable, like, let's say, 1.5, this can add a nice bit of effect to your like this render. If you want, we can definitely add this as well, let's say at 1.3. Yeah, let's just keep this in I think it looks right. And yeah, these are like some of the nodes that I wanted to go over. We also have then you also have all these different sliders for, like, controlling the colors of the image. So if you want to play around with these to get, different results and different types of, like, moods for your render, you can definitely do that. But yeah, I'll just keep it this way. And yeah, these were some of the nodes that I wanted to discuss in the compositing of blender. If you just select it all and now press. You can see we definitely have taken our render and improved it a lot. By adding some colors and some bloom options just to make it look a lot better. Now what we can do is we can just save this image. So let's go back to layout, press F 11, and you can save this and take this image to Photoshop, select image, hit save, and we can maybe in the Blender files folder or out over here, we can create a new folder and being two renders. Name it as one JPG and set the quality 200 and hit Save image. Now I will open a Photoshop. Alright, guys. So now we have opened up our render in for the shop, and I won't be doing too much over here because as I said earlier, I don't really understand the image editing and doing all the color correction things that will. So I will be adding a couple of effects, like, let's say, adding overlay. So if you go into your textures folder, you will find, like I have added these two different overlays that we are going to use, and I think they would look really well with our scene. You can definitely find a lot more of these overlays online on Google and Pinterest and get, different types of effects with them. So let me just show you how we can use these. So let's say we select this overlay to and drag and drop it into our scene. Something like that. And let's just hold all and increase the scale of it so that it kind of covers the entire scene. Hit Okay, and now it is on top of our image. So what I will do is I will go into layers and first select this overlay layer, which is on top of our background and basically just change the blending mode for it. So you can change the blending modes from over here. You can see if you select different ones, you will get, different types of mixing between the two layers. You can also do this from over here, right click and select blending options, and over here, you will get, much more settings, and you can do the same thing from over here as well. Well, let's just select a the blending mode from over here, and the one that we are going to use is the screen type of blending mode, which I think works really well with the look that we are going for select screen. And what this has done is it has basically added this type of sunbeam type of effect on our image. It does not look that good right now. But if you select your overlay image, go to Image and set Autoton and then maybe set autoclor. It will kind of fix up the color and make it whiter, which I think works a lot well with our scene. And then we can finally just decrease the opacity to let's say that low, something like maybe 60 60 or 60 maybe something like 60 or 70. And then you can see we have added, like, kind of the sunbeam effect on top of our render, which I think works really well and looks pretty cool as well. You can turn it on and off and see the type of effect it adds and if you really want to even add it or not. If you don't want to add it, you can definitely skip out on this. But next, I will be bringing in this overlay one and dragon drop it like this. And let's just scale it up and place it just around our windows, not over our entire scene. Let's just place it around our windows for now. And then once again, just click on this tick icon and select the screen, blending board, place it a little well. Obviously, it does not kind of work perfectly right now because we do see a bit of these edges. But to fix that up, we just decrease the opacity to a lower number. Like let's go with 40 right now. And now what we do is you can see we get like these harsh edges. So select your overlay one and just select a simple brush. So the brush tool, select it and just click on here and rashize it, and then you can select the black toler using the black color, you can kind of erase off these edges. So this works perfectly for us. We see a little bit over here, so just remove them. And now we get it like perfect. So what this has done is it has basically added, like the small sparkling effect on top of our image, which looks pretty nice as well. So yeah, these were some of the compositing that we can do in Photoshop. And I think it looks pretty nice with our environment. Next, you can select your background or the main render, go into filter and under the noise, you can select add noise. So add noise is basically it will add a little bit of this color noise on your scene. If you increase the amount of it, then you can kind of see the change. But we don't want it this much. Let's say we go with something like three. I think even three is a lot, so let's go with two. And this will add small little noise sparkles all over your environment. And it is up to you if you want to add them or not. You can undo it and see the effect. This does add a little bit of nice look to your scene if you want to go for that. And next we can select our background image, go to filter and maybe select sharpen more. Sharp and more will once again sharpen out your edges. So I think this much is a lot. So instead of sharpen mode, you can select simple sharpen. This will give you a little bit of sharpening all over the edges, and I think it looks pretty nice as well. So it is kind of up to your preference if you want to add these effects or not. You can also do obviously all of the normal image editing stuff like adjusting the brightness or the contrast or those type of things. You can maybe increase the contrast of the image a little bit. I think that would work pretty well only. Increasing the overall contrast of it. Let's say something like 25 or let's try. Let's go with 30. I think 30 is fine. I think the brightness is fine at zero only, so we will be going with that. Let's sit, okay. All right, so yeah, these were some of the changes that we have done in our compositing. If I come back to my anime room and let's say I go to compositing and select them all and just press M and save this image, save and select two, set this to JPG. Let's just rename this as one underscore 80 trade and hit save. Now open this image in your Photoshop. U. Now you can hold Control and tab to kind of switch between the two different tabs in your Photoshop, and you will see the effect that we have added just by doing some simple editing here and there. So this was our older render, and I think it looks pretty gloomy and dead for our anime inspired scene. And this has kind of colors popping out a lot more, and I think it looks really nice, as well. So I am really happy with how the compositing has turned out for this. And definitely, there are a lot of different settings that you can kind of play around with to get like, different types of wizards and I've already gone over them. If I come back to my let the scene back now. What I will suggest you guys to do is let's say we can also play around with the camera settings a lot. So right now we just have a single camera angle. This one, let's say we press shift A or sorry let's just duplicate this one only. Select it, press Shift plus D, duplicate this. So now this camera is already set up. We need to change this camera's location. So first, we need to make it the active camera. You can see this one has like a black triangle on top of it, and this one has like a hollow triangle. That means this is not really the active camera right now. Select it and press Control plus zero. Now, this has the black highlighted triangle, so now this is the active one. So now that it is the active camera, you can place it around in your scene, let's say, over here, and then press Control A 100. And this will give you a different type of what do we call it like angle to look at your environment at. I think this will give you a different look. You can also increase the focal length if you're trying to kind of go for, let's say, a close upshot. You can even increase the focal length, and we can enable camera to view and adjust it a little bit like this. And even this angle looks really nice for our scene. Now, you might notice that we are getting this really blurred out spot. So if you turn off the depth of field, everything will kind of have a crisp and, like, perfect outline. We don't really have the depth of field effect now working. But if you enable this, now you get the depth of field and you can control it using the focus distance. So focus distance is basically where you want to focus your camera. So if I decrease this a lot, everything is totally blurred out. But if I keep on increasing Now the distance is somewhat set to the location of like this cup noodles. So that's where we can only see them properly while the rest of the things are blurred out. And if you keep on increasing, now, other things will start to get in focus like now this is in focus. Or now let's say if you increase it a lot, then the TV is going to be in the focus like this. You can also select the exact focus object you want to. So let's say I click on this dropper and select this. So now these cup noodles are in focus while the rest of them are totally blurred out, and the blender automatically calculates the focus distance for us. Let's say I select this book or I select the fridge. So yeah, that works. So yeah, the reason we are going over all, this is like the ptofel is a really nice effect that you can play around with. So now let's say you select the focus object and select your cup noodles. But you don't really want the rest of the stuff to look too blurry. So you can decrease the F Stop option. And what this will do is now the cup noodles are in focus, but the rest of the objects are not that blurry. You can decrease it to get a proper effect. So let's say I said dio 25 so that this is in proper focus while the rest of the stuff are still a bit in focus, but not that much. So they will appear like a little bit blurry but not that much. So, this is a really nice option that you can play around with, and definitely you should be adding a couple more different angles in your environment. So one is over here, then you can place one, something like this and definitely try different focal lengths as well. So right now the focal length is set to 50. So if you keep on increasing the focal length, it is basically for more close up shots. So high focal length like 50 or 80, you can definitely go for really close up shots if you want to take. And the earlier one we had, let's say, this one, hold control and zero to make it the active camera once again. This is really a small focal length 25, which is far more like wide angle shots to take in the entire c. So yeah, just set up a couple of different angles, maybe one over here to properly see the uh, outside view. And then, yeah, you can take all these different renders and make sure to composite them as well. Let's say we select this one. And let's just give this a quick render. I will increase this to 15 and just press F 12 and see how it looks Alright guys. So the render is done now and you can see this one gives off like a totally different look. If you come back to compositing and just select all of your nodes and just press. To turn on the compositing, now the colors and everything are working perfectly, and we get the proper look that we want. So yeah, definitely, you should be taking a lot of different renders from all these different angles, adding different cameras, adding them in different focal lens or depth of field settings to get various different types of shots to show off the variation in your environment and your portfolio as well. So definitely do that. One other thing that you can do is, let's say you go over here in the output properties. We have the standard resolution right now that is 1920 by 1080. You can also increase it to, let's say, the QHD. So 25 60 by 14 40 P. So this is a little bit higher resolution. You can also go for four K as well, but that will just take longer times in your renders. But what you can also do is you can set, weird resolutions like let's say 100 by Sorry, thousand by 1,000. And this will give off like a totally new look. So yeah, as you can see, this aspect ratio looks completely different from our earlier one. So you should definitely be experimenting with all these, like, different things we have a lot of different options. We also, play around with the lighting as well, like adding different lights or making, like, a nighttime scene or adding like lights to the lamp or changing the color of the sunlight. Or maybe making like evening time scene. So there are a lot of different things that you can do. You can also create various other props if you want to, maybe adding a lot more things or making a different layout for your room, like placing around the props differently to create a completely new scene. You can do all these things. One thing that you can also do is you can go to shading. And if you remember, we added different HDRIs. So you can also try them out right now. If I now cross this one and instead select, let's say, some other HDRI. That HDRI will totally give a different look to your scene, as you can see. You can just rotate it around, and this will give off like a seaside type of environment. And if I select something else, something like that, again, you can see it will give off a totally different look. And yeah, these were basically all of the kind of customizations and the compositing things that I wanted to discuss, and we are pretty much done with the lecture and the course. So I hope you guys learned a lot. Thank you for watching.