Create a Victorian Room with Blender and Substance Painter

1. 001 Introduction: Hi, I'm daring Lyle, and welcome to this course, but we will create a Victorian room with Blender and substance painter. In this course, you'll learn how to create a detailed interior scene using tools and techniques that apply equally to both animation and video games, would use blender to create the 3D models of the furniture, accessories, and the structure of the room. And then we'll work on UV mapping, all of the 3D objects, getting them ready for export, and taking them into Substance Painter for texturing. You'll learn how to use layer masks and Substance Painter to quickly create realistic textures for your 3D objects. We'll set up a blender export template and Substance Painter, and export our texture map so that we can use blenders Node Wrangler to easily apply the textures to our scene. Next, we'll work on lighting the scene and rendering using blenders Cycles Render Engine will animate the camera and use blenders video sequence editor to edit our rendered shots together. We'll even add some music and then render it all out to a single MP4 video file. If you're interested in creating environments for animation or video games, then this course is for you. You'll learn how to create a realistic detailed scene from the first polygon to the final render. So let's get started. Join me as we create a Victorian room with and Substance Painter. 2. 002 Setting Up a Reference Figure: Before we begin any of the modeling, let's first take a look at the reference images and maybe set up a reference object in the scene here so we can quickly see the relative scale or proportions of our models. First of all, let's take a look at our reference images. And these are just images I found online, taken pictures of just to get a general mood of sense of what I'd like to create. Some of these we'll use as reference for specific objects. And some of them are just for a general mood that I'm going for like this one here. I like this a lot. This is kind of what I'm going for here. I don't want it to be exactly like this, but this general feel, I think would be really nice. And we'll be coming back to these images periodically. And also, feel free to go out and find your own, find inspiration for the project that you want to create. Feel free to follow along as the project evolves, or add your own objects, add your own design elements, furniture, etc. Feel free to make it your own as we go. In addition, I'd like to, as I mentioned, add a reference object here in the 3D view that it'll give us a quick sense of how big things should be. So I'm just going to hit the a key and hit Delete and delete everything in here. Then what I like to do is go out to a website called Mixamo.com and grab a character model from here to use as reference in the scene as remodeling. Now these are completely free models. You can go out and create a free account here and mix them o.com and download characters and animations. Let me get rid of this and then you can see all the characters you can download for free. All the animations as well. So it's a free website that you can use in your own projects. But what I've done is just gone to characters. And I've just typed in Bot and hit enter. And we've got these y-bar and x-bar mannequins here, and I kinda like this guy here, the y-bar. What I want to do is just show you how I download one of these models, set it up in my scene, and use it for reference. So with this one selected, I'm just going to click on Download. I'll then come over here and choose FBX 7.4, which is the most current one as of recording here. And then I'll just click Download. I'll put it in my reference folder and save it. And now let's go back to Blender and import it in. Let's come up here and go to File Import FBX, browse to the reference folder. Here it is. Why Bot FBX, and I'll click Import. And there he is. I'll hit the period key on the number pad to zoom in. And what I like to do here is just to change the pose just a little bit. I'm gonna hit the one key on the numpad and then select just the arbitrary, just the bones. I'll switch to pose mode, and I'll select one of the shoulders, hit the R key and bring that down. Select the other shoulder, hit the R key and bring that down. And you do not have to do this if you would like to just use the model that's in the project files, all you have to do is just go and open up this blender file, this zeros 02, and it'll be here ready to go for you. But now that I've moved those arms down a bit, I'm going to switch back to object mode. Now instead of having the armature selected, I'm gonna select this part of the character, this alphas surface. And I'll come over here to the modifiers panel. And I'm just gonna come up here and pull this down. Click Apply. Then I'm gonna select the gray part of the model, all the joints in here, the Alpha joints. And also click Apply over here. There we go. Now if we take the armature and apply the scale, I'm going to hit the N key and just come over here so you can see the scale here. It's 0.01. What I'm gonna do is just with this armature selected press Control a to apply the scale. Click on Scale. And now I can just hit Delete. And there it goes. Now to combine these two objects together, I'm just going to select the joints and then Shift-click the surface object, press Control J to join those and then give it a new name. I'm just going to call this reference figure. There we go. Now we've got a character that we can bring into our scene that's 1.8 meters tall, which is about five feet, nine inches. And we can bring it into our scene at anytime and compare it to what we've created in C if the objects look correct compared to this figure. Now, I do want to take the materials here, go into the material properties, and I'm just going to click the Minus button here just to remove these materials. That's all it is, is just a gray figure. We can take this and move it around, put it wherever we want to get a sense of the size and proportions of the models that we're creating. Now I'm gonna come over here to this collection that it's in. And I want to change the name of that, call it reference. And then I can just hide this by clicking on that icon. And I'm also going to hide it in the renders. I don't want it to come up in the renders. There we go. We can just bring this out anytime when we're ready to compare our object to the size of that reference figure. Alright, so in the next video, we'll actually begin with our first model. 3. 003 Beginning the Coffee Table: All right, let's begin on our first model. I'm gonna come up here to the outliner and choose the scene collection. Because whatever collection is selected up here is what any new objects will come into. And speaking of new objects, Let's figure out what we're going to actually create here. I'm going to bring this up and to create a new window here that we can put a reference image into. I'm just going to hover over this corner until the cursor turns into a cross and then click and drag down to create a new window. And let's change this to an image editor here. And let's click Image open and let's go to the reference images. And I think right here, right up front, this is what I want to create. It's not too difficult. We could maybe work on something smaller like this, but I think there's a fair bit of complexity to this. I think I want to begin with something fairly simple, so I'm gonna work on this coffee table. Let's bring this in. Here we go. Here is a reference image in the image editor here. Let's make this a little bit bigger so we can take a look at it. I'm going to press Control and the Space bar to make that screen that I was hovering over, full screen, we can always toggle back by pressing control and Space-bar. Again, I'll hover over this control space and let's zoom in here. So there's a bit of detail on this that I'm not really interested in creating. I don't want to create all these ridges all along here and I don't want to create the little drawers either. However, I do like the basic shape of it, the size of it. I like the legs and this bottom shelf here. So let's at least get this basic shape down. And we can of course, think about the materials and textures as we get a little closer to that. But let's work on the modelling for this. I'll press Control Spacebar again. And now let's just begin with a cube. To add a new object, you're going to always come up here to the Add menu. Or you can press Shift a and bring up the same menu. So I'm going to go to Mesh cube. And here we go to scale this. We can come over here to the scale tool and click on this and we get a scale manipulator. And I can take this z-axis manipulator and click and drag it like this. Another way to do it is just to press the S key. So this is the z-axis, this blue axis here is the z-axis. I can press S, z, and now we can scale in the z-axis like this. I'll come back over here to the Move tool, then click and drag on this blue arrow to move it up in the z-axis. Now, I want to begin with this top part. And if we zoom in here, you can see we've got kind of this ridged pattern, but I think if we go over here, yeah, let's take a look at it here you can see the outline of that pattern and that's kind of what I wanted to get here. So I think what I want to do is tab into edit mode. And in edit mode you have access to the three components that make up any polygon object, and that is vertices, edges, and faces. We can change which ones we're selecting here by pressing the 12 or three key on the keyboard. So as you can see, if you hit one, you go to vertex, select two edges and 34 faces. So I'm gonna go with face mode and come under here and click this face here to select it. Now I'm going to go over and choose the move tool. And we can use that move manipulator here in edit mode as well. Alright, so I wanted to get this shape right here. I think I'll go to the same place that I am here on the photograph. And with that face selected, let's just begin using our Extrude tool. Now the extrude tool is over here. You can see extrude region and the shortcut is E. All I'm gonna do is just hit the E key and pull down and then use that S key to scale to get this basic shape. First of all, let's just get this kind of curve. I want to push this out a bit. Let's hit the S key and just scale out just a little bit. I can also hold the Shift key down and move a little bit slower. So let's say I move this out to about like this. Then I can take this z-axis here and drag it up a bit. Or if I want to stay over here and see this, I can press the G key to move, G for grab and move, and then hit the Z key for the z-axis. So I can press G, z and move up and down in the z-axis. So I'm going to hit the Shift key once again and move up just a little bit like this. Maybe scaling out a little bit more. I think I'm right here. Now I'm going to hit E, pull down just a bit because I've got this face selected. Anytime I extrude here, it's going to go perpendicular to the face, which is currently the z-axis. So that's why I don't have to do anything. When I hit the E key, I can just pull down in the z-axis. Now I want this little piece here. I'm just going to hit E, pull down, and then the S key and pull out just a bit. And then E and pull down just a bit like this. So now I'm here. Now what I want to do is pull into this place right in here. To do that, I can use E and S, or I can use the inset tool. If we come up here to the face menu, you can see that inset faces is the I key on the keyboard. So what I'm gonna do is just hit I and push in a bit and you can see it scales it in like this. I don't want to go that far, maybe about right here, Let's say. All right, Now I'm gonna pull down a bit and pull down. There we go. Then let's keep going. Let's keep doing this. So this little area here, E, pull down, pull in just a bit. Maybe that's a little bit too much. I'll hit G Z and bring it up some. Hold the Shift key to move a little bit slower. Hit the S key to bring it out a little bit. And there we go. Now let's do that again. E pulse straight down, hit the S key, hold the Shift key and pull out a bit. Let us do that a little bit more like this. So we're here now. Let's hit E and bring us down just a little bit. And now we've got this area. Now I'm just going to use extrusions to get this basic shape. All we really need to do is just hit E Once again and pull this down, hit S, scale out. Pull down maybe S scale out just a little bit more like this. Hold the Shift key down to move slower. Bring this down. Bring it in some, maybe I'll hit G Z to bring this backup a little bit and hit the S key and bring it out some. Here we go. One more time. Let's just hit E and then the S key and bring that in like that. Now, we've just got a little bit more. Let me get this little ridge here so I'll hit E and pull down just a smidge like this. Then I'll hit ES, pull out and pull down just a bit. And there we go. There is that top part of the table. Now if we zoom out a bit, you can see I didn't really get the thickness of it compared to the size of it and I did I. So there's a couple of things we can do. We could just select this whole thing with the a key and then press S and Z to make that a bit thicker. Or we could scale in the x and the y without scaling in the z. Let's also try that. Now there's a couple of ways we can do that. We could come over to the scale tool again. And then we could click and drag on the blue scale, resize part of this manipulator. And what that will do is turn off the blue axis, the z-axis. So if we click and drag on that, you can see it scales in, in the x and y, but not the z. And that's pretty good there. Or let me show you another way. You could also press the S key and then press Shift Z to turn off the z-axis. Now once again, you're just scaling in the x and the y. So we could do that. That's not bad. Let's take a look at the general proportions of that. I think if I took this top face here and just brought it down just a bit, let me just click and drag on the z-axis and then hold the Shift key down a little. Let's do that a little bit more. Maybe one more thing I'd like to do here is bring these couple of edges out. If I hit the three key to go to face mode, one thing we can do is press the Alt key and click on an edge between two faces right here. And it will select that entire face loop all the way around. Now if I press Alt and Shift and click an edge between two phases, it will also give me that other face loop around there as well. Now let's scale this out without scaling in the z so I can press the S key and then Shift Z. Now I'm gonna hold the Shift key and move out a little bit slower like that. Just to bring that out, Just a bit like that. Now I'm gonna hit the a key and I think also scale up in the z just a little bit. Bring that up something like this. There we go. Before we move on, let's go ahead and smooth it. So you can see we've got these kind of sharp edges here. So what we can do is select it in object mode and right-click and choose Shade Smooth. And that helps smooth out some of those edges, but it also gives us some strange artifact in here. What Let's do is with this still selected, let's come over to our object data properties. Let me click on this and just move it over here so we can see twirl this up and this up. And then in the normal section, let's turn on auto smooth. And that helps. There we go. Alright, so in the next video, Let's begin working on this bottom shelf. And the legs. 4. 004 Continuing the Coffee Table: Now that we have the top part of the table, maybe let's move it down a little bit trying to figure out how tall it should be at least approximately. And maybe adding this bottom shelf could help. Let's press Shift a mesh cube and I'll hit the S key and just scale it down quite a bit until it's about the same size here of that top piece. And then press S and Z and scale this down quite a bit. Something like that. Maybe. Let's see how that looks. To look at it directly from the side or the front. We can hit the one key on the number pad for the front orthographic view, the three key on the number pad for the right orthographic view. So if I hit the one key, let's just say we want this to be about here. And I'll bring this down to about here. Let's say we're gonna continue to adjust and readjust this as we go. Let me just scale this down just a bit. All right, so now let's start working on the legs of the table. Let's zoom in here and see what we can see. It looks as if we can do pretty much the same thing as we did with the top of the table using extrude and scale, but beginning with a cylinder. And then right here we're probably going to need to use a cube for this. But let's bring in a cylinder and give that a try. I'm going to press Shift a mesh and bring in a cylinder. And if I zoom out a bit, It's a little big, right? If I come over here to the Add Cylinder settings, before we make any changes to it in the 3D view, we can make some adjustments to the settings here. Instead of 32 sides, I think let's just take this down to 16. I can change the size of the radius and the depth, maybe make the radius 0.1 and the depth 0.2. So that shrinks it down quite a bit. And then for the cat fills or the top and the bottom, I'll just leave this as an end gone. We can change it if we want. So there isn't any caps on the top or the bottom or make it a triangle fan, I think I'm just gonna make it one multi-sided polygon here with the end gone. Alright, now let's hit the period key on the number pad to zoom in to that selected object. If we hit the one key on the number pad, we can then hit the S key and scale this down a bit. I'll hit the G key and let's move it over here. Kind of place it where we think it should be on this side. And then I'm gonna hit the three key on the number pad. If you go to the side or the right orthographic view. And I'll just grab this and move this over to here like this. Okay, so we now have a cylinder here in the corner where we think the leg is going to go. Let's select that and hit the Tab key to go into edit mode, I'll hit the one key to go to the front orthographic view. I'll hit the period key on the numpad to zoom into that selected object. And in addition, I think I want to be able to see through this as we're doing this. So we can come up here to this area and change our viewport shading to wireframe here so we can see through it. Or if we go back to our solid view, we can also turn on the x-ray view right here. So it's just two different ways to be able to see through our object. Now also, instead of clicking here, as you can see, the shortcut is Alt Z. We could, in the 3D view press Alt Z to see through this, we can hit the one key on the keyboard to go to vertex select. Now if I just click out here to deselect and then click and drag here, I can select these points on the bottom. Hit the one key again. And now I can just bring this up and we can begin from here. So kind of looking at this piece right here, I think what Let's do is begin right about here. And let's just create a ridge on the top here. So let's hit E and then S, and I'll scale out. And then I'll hit E and pull down. Then I'll hit E, S and scale in just a bit like that. So we have that first ridge up there. Now let's bring it down to here. I'll hit E and bring this down. And then let's hit the S key and scale that in a bit. Alright, let me zoom out to see how big this is. That may be a little bit big to begin with. So I'm gonna hit the a key and just scale it down with the S key. A little bit like that. There we go. Then maybe I'll just bring it back up. Move it over the side a bit, and let's keep going here. I'll click and drag these again. And let's get this little ridge here. So maybe I'll hit E S and bring this out, bring it down a bit, maybe E and bring it down some and hit the S key and scale out a bit more. And just keep going on down to kind of get that curved ridge there. Bring this down and bring that in like this. Okay, so now we have this. Let's work on this piece here. It still looks to me like this is too big for the amount of room we have here. Maybe I'll once again hit the a key and scale it down just a bit again. Once again, just readjusting each time as we take a new look at it. Now, just like we selected that face loop by using the Alt key, we can also Alt click on an edge here and select that whole ring of vertices there. So let's do that. Now back to the front orthographic view. Let's begin on this part right here. I'll hit the E key and drag down and then scale out just a little bit with the S key. And then I'll hit E Once again, pull down, hit the S key, scale out just a bit. Pulled down again. Let's do that one more time here like this. Then let's begin bringing that in. And then bring that in just a bit like this. And E and bring that in a little bit more like this. So we're just getting that basic shape is all. Alright now for these little guys right down here, I think we can just continue on with E. And then E again an S and extrude down. Scale in again. And then let's get this piece down here. Bring it down some more. Oh, and it looks like it doesn't come back in. So let me press Control Z to undo that. And maybe we can scale it out a bit like this. And alt click this edge and scale this one out. Let's try that. There we go. Maybe we can do that. Let's maybe take this edge again, Alt, click this, bring it up and I'll just do one more. An S like that just to bring it in just a tad. There we go. Now here's where we can add that cube. What I'd like to do is center it right on this cylinder. If I created a new cube here, it would come in where that 3D cursor is. But what if we move that 3D cursor to the center of this selection right here. To do that, we can use the snap menu by pressing Shift S. And here we go. Now we can bring the cursor to the selected or the two key here, I can just click here, and that brings that cursor to that point. Now let's tab back into object mode. I'll press Alt Z to go back to Solid View. And now let's create a cube. Let's press Shift a mesh cube. And it is of course huge. So let's come over here to our Add Cube settings panel, and let's change it from two meters down to about 0.2. Let's just do that. That's still pretty big, but at least we can see the whole of it. Now, let's bring this down and move this down like this. Something like this. So it looks like it sticks out just a little bit like that and I don't know that it's perfectly square. I think maybe I'll scale it in the z just a little bit. Kind of like that. Let's try that. That of course means that we're going to have to bring this up a bit. But once again, we're gonna be continuing to adjust these as we go. I'll just bring this up a little bit like this. I think that should be okay. I'm gonna hit the S key again and just scale up a little bit and S and Z and bring it back down. I'm going to scale this down just a bit. So it's inside here. And it looks like, oh, I'm off here, aren't I? So let me select these two objects and object mode and just pull them over like this so we get it more kind of centered on that corner. There, there we go. Now, for this cube, you can see that the cube has these beveled corners and we can replicate that with our Bevel tool. Let's tab back into edit mode. And with all of these points selected in vertex mode, we have vertex select enabled here. With all of these selected, let's come up to the vertex menu. Or of course we can press Control V for the vertex menu as well. Let's choose Bevel vertices or Shift Control B. Let's do that. Now if I move the mouse out, you can see it's beginning to bevel those corners, just like in the image here. So maybe something like this. Let's try that. Then I'm going to scale it down a bit. Move it back up. There we go. Let's try that. All right, we've got the beginnings of one leg here. In the next video. Let's continue on this ad the other legs. And then we'll go through and do some final adjustments, scaling, adjusting the proportions, etc. That's coming up next. 5. 005 Finishing the Coffee Table: Now once again, at this stage you can see that we really need to probably use our scale trick to change the proportions of this leg. It looks kind of thin in tiny compared to the reference image over here. However, let me just select this and hit the period key. Take a look at this. It looks like the origin of this object here is no longer in the center. Because recall, I moved it to get it here on the corner. But when I did, I moved it in edit mode. I move the geometry but didn't move the origin. You see the origin only moves when it moves in object mode. Press control Z. When you tab into edit mode and hit the a key and move this, that origin stays where it was. If I'm going to scale this, I really need that origin back in the center. How to do that? Well, of course, blender has a tool. We can come up here to the Object menu and choose Set Origin and put the origin in the geometry here, origin to geometry. And when we do that, it pops back into the center. Now we can go about scaling this by pressing Shift Z, turning off the z-axis and we can scale it up from the center of the object. About like that. That looks a little bit better. Let's hit the period key on the numpad and come in here and take a look at it here. I'm gonna move it back here. And back here in this time, I moved it in object mode. So the origin of the object came along when I moved it. Now having done that, this is a bit off center as well. What can we do about that? Well, we could take this, select this object, and move the 3D cursor to that point. To do that, once again, we can press Shift S cursor to selected. And then we could take this object here and move it to the cursor. So let's press Shift S selection to cursor. Now it's aligned to the center of that object and I can just pull it back down. And it's in the center there again. All right, let's now work on that small piece right down here. I'm gonna keep that cursor there because that's where the new object will pop into the 3D view. So let's press Shift a mesh cylinder. Now let's hit the S key, scale it down. And if we just then drag it straight down, it'll stay in line with the center of those objects. All right, I'll hit the period key to zoom in. Let's hit the one key to go to the front orthographic view. And if we move this up a bit, maybe I'll scale it out just a bit more like this. And then I'll tab into edit mode, press Alt Z, click outside of the object, and then click and drag the bottom row of vertices here, and that selects everything in the front and the back. Now let's move this up and we can begin again from here. So it's kinda hard to tell what's happening up on top of there. But let's maybe hit E and pull down and hit S and scale in. And then we'll begin writing here. So I'll scale in a little bit more. Then let's hit and again, and then S. I'm just going to bring this in like this for this little ridge right there. And then let's get this larger bottom piece here. So how about I'll extrude down and scale out a bit and do that again. And again. Maybe to about here, let's say. And then we can begin bringing it back in like this. Another extrusion, bring that in. And maybe that's maybe that's all we need. Well, maybe I'll do one more here. There we go. Something like that. I'll press Alt Z to go back to Solid View. And it looks like I can press Alt and click an edge here and maybe move this up just a bit and scale it in just to kinda readjust. That's all. Maybe something like this. The S key kind of like that. There we go. I'll press Alt a to deselect everything, hit the Tab key to go back to object mode. And how are we doing here? Well, not too bad. I feel like it could be a little bit bigger though. Let's hit the S key and just scale it up some, bring it down a bit. About that. Not bad. Let me zoom in a bit. I feel like now this part right up here, I'll hit the three key. Alt click between two of the faces. And now let's scale that down a bit. Just feel like that got a little too big. Let's go ahead and smooth these objects. I'll select this and right-click and choose Shade Smooth. And once again, we've got some of that artifact and problems. So over in the object data properties, Let's click on auto smooth and that helps quite a bit. And now this, we could try smoothing this and then click on Auto Smooth. There we go. And then we could also do this one and click on Auto Smooth here. And it looks like we need to drag this little slider up to clean up this area. This is the maximum angle that will be smoothed. So if we drag this up a bit, click and drag in this field, we can smooth that out a bit like this. So if I drag it up to about 4344, that smooths out, that looks pretty good. All right. So now how do we take these legs and put them on the other corners? Well, first of all, I think what I'll do is join these three objects together so we can mirror this as one object. So I'll take this object, shift click this one, and then Shift click this one here on the bottom. And to join objects, we can press Control J or Control J. And now it's all one object here. I'll go ahead and change it in the outline or call it leg just for now so we know what that is. When we mirror an object, we mirror it around the origin of the object. And recall that that orange dot right in here is the origin of the object. If we tried to mirror this object, it would just mirror around itself here in the center. We need to move this to the center of the grid so that it will mirror to each corner. So how do we do that? Well, we can move this 3D cursor back to the center of the grid with Shift S and the one key or cursor to world origin here. Now we can take this origin and move it to the 3D cursor, come up here and go to set origin, origin to 3D cursor. Now if we used our mirror modifier over here in the modifiers panel right here, we can choose Add Modifier and the mirror modifier here. I better move this over just a bit. There we go. And click here. Now we've got it mirrored along the x-axis. You can see that here. And if we wanted to add the y-axis, we could just click here. There we go. Now we've got all four legs. All right, Let's now see how it looks compared to the reference figure we created earlier. So if I come up here and turn on the reference collection, here is our figure and it's a little bit, or I should say the table is a little small. So let's move this guy over a bit. Now what I'd like to do is scale from this 3D cursor at the center of the grid. To do that, we can just change our transform pivot point appear. So currently when we scale anything, we're scaling around the objects median point, so the origin of the object. However, if we change this to 3D cursor, now look where that move manipulator went. It went down to the 3D cursor. So we can now select all of these objects by shift clicking them, and we can then scale from that point. So I'll hit the S key. And if we scale up a bit, now we can begin to see if we can get this a little bit better in proportion to our figures. So I'll hit S again and scale that up. Now what do we think? I feel like it may be a little bit too wide and deep for how tall it is. I feel like this is about how tall it should be. Maybe just below the knee there. But that may be a little bit too big. So let's try our trick with turning off the z-axis. Let's press Shift Z, and let's scale in this. Let's try that. I would like to try and make the legs a little bit thicker. I'm gonna tab into edit mode, hit the a key, and I'm gonna change my pivot point to median point again. And now I'm gonna press S Shift Z and try and move these out just a little bit like this. You can see that because they're all mirrored, they're all scaling out at the same time. Maybe if I did that, and then I'm going to have to move these in the x just a bit and in the y just a bit. But the good thing is, as I said, because they're all mirrored, we only have to move that one. Now we can combine this all into one object. To do that, we're going to need to apply the mirror. Let's come over here to the modifiers panel and apply this mirror modifier. A, pull this down and click Apply. And now that creates three more permanent objects. Each one of these now is its own object. And then let's shift click the top of the table and the bottom shelf. And then once again, let's press Control J. There we go. Now it's all one object, but it looks a little weird, right? Let's come back over here. Turn on our auto smooth, and there we go. Now that we've got that, we can move that origin to the 3D cursor in the center of the grid. Object, set origin, origin to 3D cursor. And now wherever we move this it will move and scale from that point on the floor. I'll press Control Z to move that back into the center. There. There we go. Let's call this coffee table. And let's also create a new collection for it. To add it to a new collection, we can select it here in the outliner and then press the M key for the move to collection menu. Click New Collection. And let's call this one furniture. Okay, there we go. That creates a new collection and puts that object in there. All right, In the next video, we'll begin on a new object. 6. 006 Modeling the Round End Table: All right, Let's see what else we can make. I'm going to hide the reference, hide the furniture, select the scene collection. So anything new that we bring into the 3D view comes in outside of the hidden collections. I'll click on Image and open and let's see what we want to do for our next object. I think something like this. Is there anything else? Well, this here, let's look at this. Let's work on this one as our next object. I feel like I've seen that in here. Let me just open this and then I'm going to press Control Spacebar and zoom in and yeah, this kind of thing right here. So let's, let's work on the small roundtables here. I'll go back to image open and let's come down here, select that. I'll move this over here. Let's click Open Image. Alright, now here's our reference image. And it looks like we could begin with the cylinder here up on top, and probably another cylinder for the legs. And then this piece right here, this is an interesting piece. We'll have to see what we can do with this. So let's begin on the top with a cylinder. I'll come over here to the 3D view. Press Shift a mesh cylinder for this, Let's go ahead and leave it at 32 sides. But this time instead of an end gun, just a single large face on the top and the bottom. Let's change this to a triangle fan. What that will do if we tab into edit mode, you can see that we've got these triangles on the top of the cylinder instead of just one large face on the top and the bottom. All right, so now that we've got that, let's maybe scale it down a bit. And then let's scale it in the z, S, z, and I'll bring it way down like this. Let's bring it up. Is that about the right thickness there? Yeah, that's not bad. We could go ahead and go with that. Now for the extrusion, if we come down here, we don't just have one face that we can select an extrude down. We need to select all of these and going through and clicking on each and everyone can be kind of a pain. So we can use our circle select tool over here. If we click and hold on the tweak menu item, we can come down here and choose select circle. Now we've got this little circle brush on our cursor and we can click and drag in face mode to select these faces. Now, once we're done, we have to actually switch to another tool, if anything else. But we can get to this again fairly quickly if we just hit the C key and then click and drag over the remaining phases. Now we've already chosen another tool. So the way you get out of it, if you've hit the C key is just to click the right mouse button. So I'll do that. All right, Now that we have those faces selected, Let's inset these faces a bit. So we get this kind of overhang on the table there. So I'll hit the I key on the keyboard and let's push in just a bit like this. Let's say something like that. Then let's extrude back down. Let's hit E, and we'll just pull down the z-axis. Here we go. Alright, so we have this so far. We just need this little curved piece right here. To do that. I'm gonna hit the one key on the number pad to go to the front orthographic view. And from here, let's hit E and pull down and then the S key and pull out a bit. And maybe I'll pull out just a little bit, hit the S key and then hold the Shift key down to slow the movement a bit and then hit E, pull down E, Again, hit the S key, hold the Shift key down. And maybe I need one more here, e. There we go. Let's try that. Alright, so now we've got that kind of curve at the bottom there. I think that's okay. Let's go ahead and smooth it. I'll hit the Tab key to go to object mode and then let's right-click and choose Shade Smooth. Now it looks pretty ugly. We should come over here to our Object Data Properties. And under the normal section, Let's just click Auto Smooth. And that worked pretty well. Except There's this edge right here. It's kind of a sharp edge before that curve begins and we aren't really getting that here. If I click and drag this down below 30, below 20, there's that edge, there's that sharp edge there. You can see it right there as we dropped below three degrees. But the problem is you can see all the other polygons in there, so we don't want that. Let me click and drag this back up to 30 or so. If we've got an object that we're using smoothing on and we want an edge to be sharp, we can use the mark sharp tool. So if I tab into edit mode, hit the two key to go to Edge mode, and then I'm going to Alt click this edge right here. Now if we come up to the edges menu, we can choose mark sharp here, or to bring up the edges menu. We can also press Control E and choose mark shop from this. So let's do that. And now we have that kind of blue-green line there. If we tap back into object mode, you can see we've got a nice sharp edge there now. That's what we want. Let's zoom back out here and maybe I'll try and bring this up to about, about the height that we think it may be. Maybe something about like this. Okay, so now let's come in here and work on the legs. So for this, I'll press Shift a mesh cylinder. And I think we could go with fewer sides here. So instead of 32, let's take this down to 16. And then I'll take the radius down to 0.1 and the depth down to 0.2. Let's do that. Alright, and then I'll hit the G key, and let's move it up here. I'll hit the period key on the number pad to zoom in. And let's just scale this down quite a bit and try and begin this little area right there, that little part right there. So maybe something about this size, like this. I'll scale it down just a little bit more. Let's begin like that. I'll tab into edit mode, hit Alt Z to go to x-ray mode. And then let's just click and drag these and look what happened. We've got our circle selects still on. If we come up here, we can change this from select circle to select box. And now we have that click and drag functionality back that we had before. All right, so let's now switch to the move tool. Back up to here. Then let's begin this part right here. If I hit E S, that'll bring this in some, maybe bring it down just a smidge. Then let's get this part right here. This kind of fluted part, I'll hit E and pull down e again and then scale out with the S key. Maybe something like that. Now we need this little bit right here. So how about E, S and pull out a bit and S. And then I'll scale in just a bit like this. Maybe one more to bring it The ran like this. Let's do that. So that's this piece right here. Now these, we could, well, we could bring these down a little bit more in scale in like this. And then hit E and bring that straight down. And now let's just hit E S and bring it straight out. And then ES and bring it back in just to get that piece there. I know that's curved, but this is such a small piece. I don't think we need to curve that right there. Let's bring this down and again and scale that out a bit. Maybe once more. There we go. And then from here we just need to bring it all the way down. I don't think I'm gonna try and curve it at all. I think I'll just bring them straight down. Let's just hit E and bring it straight down like this. Then right around here, let's hit the S key and scale it in. Right about there. I'll hit Alt Z to go back to Solid mode. Yeah, that's pretty good. I think we could perhaps make it a little bit thicker. So let's hit the S key and then Shift Z, just like we've done before, and make this maybe a little bit thicker. Like that. We can now try and smooth this. We could right-click and shade smooth. That's not bad. All right, In the next video, I think what Let's do is let's work on this part of the leg down here, as well as this piece here in the center. 7. 007 Completing the Round End Table: Now having smooth this leg, you can see we've got some artifacts here from the smoothing so we can just come over to our auto smooth and turn that on. But even when we do that, take a look at this if we zoom way in. I don't know if you can see that, but there's still some edges here that we can see of the faces, even though we've smoothed that object. What's going on there? Well, if we tab into edit mode, we can see that the polygons here are just really long and stretched and oblong. They are really far away from being square. The further you stretch a polygon, the harder things like smoothing and other tools in Blender have to work to do their job. It really wants to see polygons that are more square. So if we say inserted a few edge loops here, each individual polygon wouldn't be so stretched and we might be able to alleviate that. If we come over here we can see we've got loop cut or the shortcut is Control R. I'm just going to hover over an edge and press Control R and then click and click again. Now in our loop cut and slides settings, we can increase the number of cuts here. So I can just click the arrow. And let's increase it to three and see how that works. If we tap back into object mode now let's zoom in and take a look. Yeah, that looks pretty good. We've really clean that up quite a bit. As you smooth things, keep that in mind that really long stretched polygons can cause some problems for Blender and smoothing. All right, Let's tab back into edit mode and I'm going to press Alt Z and de-select things with Alt. And I'm just going to drag select these vertices down here. For these little round pieces here at the bottom of the legs, we could extrude and scale and create these just like we've done with other things. But I think what I'd like to do is actually bring in a sphere and then connect it up to this. I'm gonna select this point right here in the center. And I'm going to press Shift S and select cursor to select it or the two key to bring that cursor to that point. Now when we create a new object, it'll pop in there. And also what I'm gonna do is I'm gonna stay in edit mode to create the object. When we create an object with Shift a while still in edit mode, the new mesh that comes in will be apart of the existing object. So if we come down here to UV sphere and click here. Well, first of all, it's very big. Why don't we deal with that. First. Let me take this and type 0.1 into the radius there. Then we've got 16 sides. Isn't that correct? When we created the cylinder for the leg, let's change from 32 segments to 16 here. Now we have the same number of edges as that leg. So I'm gonna pull this down below here. Let's zoom in with the period key. Hit the one key on the numpad. And maybe I'll scale it down a bit. Try and get it about this size. And before I bring it up and we try and connect it, I think I'd like to get rid of the top and the bottom. So let's hit the three key to go to face mode. And I'll press Alt a to deselect. And then I'm just gonna click and drag this area right here. And I'll hit Delete and choose to delete faces. And now, if we select this here and bring it up to here, we can connect it up with the legs. So let me hit the S key to scale it down a bit. Oh, and before we do, what we also need to do is get rid of these faces up here. You do not want to have faces in the middle of an extrusion here or in the middle of an object. In fact, let's just take a look at what happens when you do. That's a good thing to take a look at. Let's Alt click this edge and alt click this edge. And let's connect these up in the edges menu. Recall that's controlled E. We have this bridge edge loops selection. So let's click that. Now. If I press Alt Z, you can see that these phases are still in there. So if I tab back into object mode and let's smooth this, look at that. No matter how much we try and smooth that, we will always have a hard edge there. And if we tried to use any modifiers, there are quite a few blender modifiers that will not in joy having faces in the center of an object there. I'm going to press Control Z and let's come back out of that. So to avoid all those problems, Let's hit the three key, the C key and circle select that. And now let's hit Delete and delete faces. Now let's select this and move it up. And I do want to mention that one of the reasons why I keep going to x-ray mode is because if I clicked and dragged on this right here, then we tumble around, take a look. It didn't select the backside. So in solid mode, when you drag select a box around an object, it won't select the backside, however. Here in x-ray mode, you can see it does. But let's say we're in solid mode here. I'll press Alt Z and we want to select this whole piece. To do that, we can hover over it here in edit mode and just hit the L key. And that will select linked components of the part of the object that we just hovered over. Now currently we've got a delimiter for seem here. I don't want that. We don't have any seams currently on our object, but if we did, it wouldn't go over those seams. So I'm just going to press Shift and click that to remove that delimiter. Alright, now I'm going to scale it down a bit. And then let's move it up to say right about here. Now we can hit the two key to select this edge with Alt click and this edge with Alt Shift click. And then once again, let's go to Control E and bridge edge loops. Now our smoothing and modifiers would work just fine with that. We may actually want to keep a hard edge there actually, but if we did want to smooth it, that would work. Now, let's remove some faces down here, so I'll press Alt Z, hit the three key to go to face mode. And let's just get rid of these right here. I'll hit Delete and choose faces, and then back to Edge mode with the two key, Let's select this edge. I'll hit E. And now that we do not have a face on the bottom here, when we hit E, it can go in any direction. So I'm going to have to hit the Z key to lock it to the z-axis here. And I think I'll just scale this in a little bit like this. Then let's get this bottom part here. Once again, you can see there is no face there, so I'll hit E, Z, bring this down, maybe let's take it all the way down to the bottom there and then let's hit S and scale it in like that. All right, let's see how we did. I'll press Alt Z, ALT a tab back into object mode. And I want to move this cursor to, let's move it back into the center of the grid with Shift S. And that pops it into the center of the grid. All right? Yeah, I think the proportions are actually pretty good there. Let's select it and right-click and smooth it. Yeah, that edge stayed sharp there, That's good. However, if I clicked and drag this up, you can see it would smooth if we went up higher, but we don't want that. We want to bring it down to about 30. So we have some edges there. All right, so now we've got one leg. That's good. I think maybe I'll bring it in just a little bit like this. Let's try that. Then let's create the other three legs here. We're going to need to move the origin into the center of the grid, I believe to create the other four, we can use that mirror modifier again, but let me show you yet another way to do this. Let's select this and move that origin to the 3D cursor here. And that puts the origin of this object in the center of the grid. Now what we can do is we can duplicate this object with Shift D and then I'll press Enter. And then let's rotate that new object around the center of the grid 90 degrees with this still selected list, press R, z, 90. And there it is. There's one. Let's do that again. Shift D, enter our z 90. There it is. And one more time, Shift, Enter RZ 90. We've got forelegs. Alright, let's see if we can finish up this centerpiece here. I think for that, we can just use a plain a polygon plane. Let's press Shift a mesh plane. And then let's rotate this 45 degrees. Let's press once again our z and then type in 45 and hit enter. And then let's bring it up to about where we think it's going to be. And then let's hit the S key and scale in a bit. Something like this. Now, recall that we use the bevel vertex tool when we created that small cube on the leg of the coffee table. Well, we can do that here as well. But before we do that, let's add a couple of edge loops. I'm going to press Control R and add an edge loop right here, hover over an edge and click twice. And I'll do the same thing. Here. We go. Now let's take these four vertices out here. And let's bevel these. Recall if we go up to the vertex menu, bevel vertices is Shift Control B. So let's do that. Shift Control B. And I'll pull out with the mouse and you can scroll the mouse wheel and add more edges. So maybe I'll scroll the mouse wheel and add that. So it turns out it's four segments, increase or decrease these. But I think that's fine. Now let's do the same thing with these four points here. Let's do that same thing. First of all, I'm going to scale in and you can see we're beginning to get that shape there. Now let's bevel V's Shift Control B and pull out. And now we've got a curve in there as well. There we go. Alright, so let's hit the a key, select everything, and then I'm gonna press the Esc key and scale in just a bit. There we've got that basic shape now, the last thing we need to do is just add some thickness. So let's go over here to the modifiers panel and let's use the solidify modifier to add some thickness. I'll come over here to Add Modifier, choose solidify and you can see it's just added a little bit of thickness there. I'm gonna click and drag in the thickness field and bring that down just a bit. Maybe like this. I'll choose even thickness. Yeah, I think that'll work. Let's go ahead and apply that. I'll click here and click Apply. And now let's just select it and smooth it. Let's come over here to our object data properties and click on Auto Smooth. And then maybe we can drag this up a little bit higher, maybe like 3538, something like that. There we go. Let's combine all of these and see how it looks. So let's select all of these. Select the top, select the legend, the center, and then to join objects together is Control J. So let's do that. Control J. There we go. Let's then take the origin and take it down to the center of the grid. So I'll come up here to object set origin, origin to 3D cursor. Then if we bring our furniture back, oh, I didn't hide them with this. I hid them with the exclude from view. And that's okay. We can do it either there or here with the eye icon. That's fine. Now let's take this very large in table and let's scale it down and get it to be about the right size for our character here. If this guy is walking into a room and there's an int table via couch or chair. Is that about the right size? Yeah, I think so. I think that's pretty good. There we go. Now we've got our round in table. In the next video, we'll continue on with more of the furniture. 8. 008 Starting the Arm Chair: Let's try and work on something a little different this time I'm gonna hide the reference collection and hide the furniture, select the Scene Collection. And let's go into our reference images and see if there's something else that's a little bit different than what we're doing. How about this? A chair? I've got a few chairs in here. And of course, you can find your own images and use whatever reference you like. But this is just kind of the things I've found that are inspirational and I believe would be good reference. And I'm kind of drawn to this currently this one right here. Because if we go back to that original image here, I feel like these chairs here, I don't think I want the full winds on the side here, but I feel like that chair that we have, the image would be good for this kind of thing. So let's go back and I'll grab that chair. Here we go. Let's do this. Make this a little bigger with control space and let's take a look at it. Well, it's got a lot of rivets and I'm not real enthusiastic about creating all of these little rivets. I think that would be time-consuming and also use up a lot of polygons. I'm not specifically trying to make a really low poly seen, although I would like to try and manage the polygon. So if I ever wanted to take this into a game engine or something like that, I could, I think what I'll do is work on a chair basically of this shape. Maybe work on these little trim pieces here. And what we could also do is instead of using rivets, we could maybe use this trim that's along the edge here. We could maybe put that right in here. So let's see what we can do with this. I'll press Control Spacebar. And to begin with, I think we just want to begin with a cube. I think I'd like to begin with this area right down here and then extrude up for the arms and the back of the chair. So let's begin with that. I'll press Shift a and go to Mesh and cube. And let's scale it down a bit, it in the z. And let's bring it up about where we think it should be. Maybe it's about this high off the ground. I'm looking at this down here. Not the cushion currently. Maybe it's about this high off the ground. Maybe if I press S and X and scale it out a bit. That's about how wide, and of course we're gonna be continuing to adjust this as we go. Maybe S and Y and bring that out like this, maybe something like that. Let's see if we can begin with that. Now, the chair is pretty much completely symmetrical, so let's go ahead and split it down the center, delete one side and then add a mirror modifier. So anything we do on one side will automatically happen on the other. Let's tab into edit mode and I'm going to press Control R to enable the loop cut tool. And I'll hover over an edge. And when you do hover over an edge, it will try and place that edge right down the center. And if I click the mouse here to drop that edge, I might accidentally move the mouse and move it out of the center. So what I'm gonna do is just hit the Enter key two times. So I don't accidentally move that edge. Now I'll hit the three key to go to face mode and then Alt Z. And let's just click and drag and select all of these faces here. Hit Delete and choose to delete faces. Now if we tap back into object mode and press Alt Z, we see we've just got 1.5. Let's now come over to the modifiers panel and choose Add Modifier and the mirror modifier. And there we go. Now we've got two sides. If we tab into edit mode and maybe hit the one key on the keyboard to go to vertex select. You can see that we don't have the vertices on the mirrored side. We can come over here and turn this on, on cage. And now we can see the components on the other side. In addition, if we take one of these points and move it, it'll split apart. What we want is we want them to clip together. If I turn on clipping now and take this point and drag it back into the center. Now if I try it again, I can't move it. That just helps us keep that center line together when we're working on the modeling. Alright, so now that we've got that in place, let's create the faces that we're going to use to extrude up the arm and the back. So let's maybe come over here to one side and move this over to here. That's where we'll extrude the arms up. And then it ends right here. So maybe we press Control R and put an edge right about here, let's say. And also we want one for the back. Control are maybe come back here and add one right here for the back. Now all we want if we hit the three key to go to face mode is we want this, this and this. We went these faces to extrude up for the arm and the back. So let's just hit E and it'll automatically pull it up in the z-axis. And let's go up to, it's kinda hard to tell that. Cushion kind of makes it difficult to get a sense of how deep this should be. But let's say it should be about like this, right here from here up to here. Now let's continue with the back. So let's take this and this and we continue on up for the back of the chair. Let's go to the side view with the three key on the numpad. I feel like I just need to take this and move it back some kind of angles. Then from here, let's go ahead and hit E, and I'll just pull up in the z-axis and then let's take this and move it back like this. All right, so maybe we could grab this edge and this edge in the side view, maybe bring that in like that. I'll press Alt Z, hit the one key, and now we can click and drag these and maybe move these forward. Just trying to get the basic shape here. Alright, How we doing? It looks like the top isn't tall enough. So let's do that. Let's take these. I just press Alt Z to go to x-ray and then click and drag these. Let's drag these up. Then I feel like it's not wide enough. I'm just going to tab back into object mode and I'm gonna hit S and X and pull out just a bit like this. I think we're doing okay, let's now come up here to the top again. And I feel like this is just a little bit too short. Let's take a look. I pulled it up, I need to pull it back some. And then I feel like the bottom is not quite thick enough. Now, as I said, a lot of 3D modeling is just going back and readjusting, taking another look at the whole thing and seeing what you can do to improve the proportions and the scale. So now I can probably take this and move this back up a little bit. Let's do that. Then let's also take some of these edges here. I think I want to expand the arms out just to fit like this. Because I feel like they flare out a bit. And we're gonna be working on the curl here pretty soon. I feel like we can adjust this top a little bit. I feel like if I pulled this up that center edge and I'm doing this when it's fairly low poly. So it's easier to do now. Then when we've already added more polygons to it, It's just gonna be easier to adjust with fewer polygons. I'm gonna move this down a bit and then move it to it's inline there. Let's see how we're doing here. All right, so now let's add that cushion. We could of course just press Shift a and create a new cube and bring that up here and shape it. But another thing we could do is just select these faces here. And since it already has that basic shape, we could just duplicate these faces. Shift D, and then hit the Z key and move them straight up in the z-axis. Then we can just extrude this to give it a thickness and pull up. There we go. Now we've got the beginnings of that cushion. And now that that's there, maybe I'll add an edge right in here, I think. And just pull this back in right up front, this edge right here. Just pull that back in like that. Alright, so in the next video, what list do is let's actually add a subdivision surface modifier to this and begin refining the shape and also add the legs as well. 9. 009 Refining the Shape of the Arm Chair: Now let's see if we can refine the shape of the chair just a little bit more. I feel like this area right up here could be a little bit thinner. You can see how it kind of angles back to maybe we just need to take this edge, are these edges and just pull them back just a little bit like that. I think now's a good time to add that subdivision surface modifier and begin refining the shape with that on the subdivision surface modifier attempts to smooth or curve every edge between points. If we come over here and go to Add Modifier and choose subdivision surface. Now you can see it's really ugly and that's okay. But what it's doing is at every point if we tab into edit mode here, you can see the original edges here and it's just trying to, between each of the edges, It's trying to give us a smoother curve, is trying to smooth that transition. We can use this to our advantage to get some of these curves on the chair. I think what I'm gonna do is turn on the cage for this modifier as well. And that will then take all the edges and kind of lay them down on the sub-divided mesh. That external cage is still there. If we select one of these points, you can see how far out the manipulator is from the point. And that's because That's where the point actually is. So from here, we need to figure out how to really sharpen some of these edges because not everything on this is all curves. First of all, I'm going to right-click on the object in object mode and choose Shade Smooth. And that helps smooth things out a little bit. But now we can do things like adding edge loops to tighten up the corners because the closer edges are to each other, the sharper the corners. If I press Control R here and click and pull this up, you can see how that kind of sharpens up that corner or that edge on the top there. But I don't want to go all the way. I want to give it a little bit of breathing room. There we go. Then press Control R here. And once again, I don't want to go all the way, bring it down just a little bit so we get a sharper edge, but still have a bit of a curve to it. Now we could also come over to our object data properties and turn on auto smooth. And that can help a little bit here. And then we can click and drag and bring these up. Let's bring it up to about 70 or so. There we go. Now let's maybe add an edge right here, Control R and click and I want to pull forward and you can see how that's sharpening up that edge there. But once again, I don't want to go all the way. Pull it back just a bit there. Okay. We could do a similar thing back here with Control R and kind of bring this back like this. You can see how we're just beginning to get that shape now. We could add an edge loop through here and bring this down to kind of tighten this up. We go up here to, we should probably add an edge loop right here and bring this up. There we go. Now what else? Well, this cushion here, let's add an edge loop to this right here. Bring that up like that. And one down in the bottom like this. Not quite all the way. And then we go back here to let's do that. Control are bringing that back and forward a bit. And now let's also add one right in here. That looks pretty good there. It looks like we need one in here because this is kind of a little too rounded. So let's press Control R and add one here. Right now let's think about this arm here, this kind of scrolled arm. I'm not going to do a scroll like that. I'm just kind of add some geometry to give it that basic shape. I don't want to add too much to this. So what I'm gonna do is just maybe select these faces here. And let's just hit Extrude. Let's just hit E and pull this out. Maybe pull it down a bit so you can see already we're beginning to get that curve there. Then back here, I'd like to maybe take this edge, move it forward and move it in some. I've pressed Alt and click that edge to select that whole edge loop. And then if I select Delete, I can choose to dissolve edges. And let's just see what happens here. Yeah, that made this a little smoother, but I don't really like what it did there. I'm going to add it back, but maybe not pull it back quite so far. Let's try that. All right, so now let's take this edge here and let's pull it up some like that. So we get that kind of scrolling underneath. And then maybe we grab these edges here, bring them up and bring them out a bit. We're just trying to duplicate that general shape. As you can see, I'm doing this in a fairly low poly way. I'm going to take this point and hit G2 times, which means we can slide that point along an edge. Taken, slide it down a bit like this to make this so it's a little bit more even. Also, I think I'd like to add some edge loops back here. This is kind of curved a little too much. I think. Maybe let's press Control R and let's try adding one edge loop in here. And I'm gonna bring it back toward the back just a bit to make that edge a little sharper there. Then let's try and add another edge loop right here and see what happens. Is that too much of an edge there on the front? Well, it's not bad. I think maybe we could take these edges here, pull them forward just a bit. Let's try that. Maybe to curve that out just a bit. And we could do that same kind of thing here with the pillow on the bottom. We could maybe bring these up to make it a little more rounded on top. Let's try that just so it feels a little cushy or it didn't look real comfortable there. I guess now that we've done that for those, we probably ought to bring this up a bit too. I feel like this is still a little bit too thin here and it's kind of up above this bottom part. So let's press the L key and press S. Scale that up and bring it down a bit so it fits on there a little bit better. There we go. Yeah, I think that looks a little bit more comfortable. Now it seems to me this whole area could come down a bit. So once again, here's our time where we're readjusting things. I want to grab all of these points down here and bring them down a bit because I feel like this cushion is a little bit too high, but I don't want to select that cushion. So what I'm gonna do is I'm gonna hover over it and press the L key, and then I'm gonna hide it. I'll hit the H key. Now if we press Alt Z to go to x-ray mode, hit that one key to go to vertex select. I'm going to grab all of these and just pull them down just a bit like this. Now let's try and bring that back. If I tap back into object mode, you can see here it is. But if we tab into edit mode, it still isn't here. To bring that back, instead of pressing the H key to hide, we'll press Alt H to unhide. Now I can just take this and bring this down a bit like this. Now let's take a look at how that looks. Yeah, I think that's a little bit better. It gives the arms a little more room there. Then once again, I feel like I need to expand this out in the x, S and X. Bring it out just a bit. Let's see how we're doing. Yeah, I think we're getting there. But I've since I've pulled this down, I'm going to move this backup a little bit to give room for the legs. And I think that's pretty good. That's a pretty good shape there. It is a little blocky here. We can try and increase the angle here in the auto smooth and that helps a little bit to smooth that up. In addition, we can come back to our subdivision surface modifier and we could increase the subdivision levels from one to two. That cleans that up quite a bit. However, that's going to add a lot of polygons. If we hit the Z key and go to wireframe, you can see the basic wireframe of the object. However, we're seeing an optimal display here you can see in the subdivision surface we have this turned on. If we turn this off, we see the actual number of polygons that would be created if we apply this subdivision surface modifier, is that what we want? This is Five Thousand Faces. If I take the viewport level down to one, you can see that 1320. So it's a balancing act. It's what you want out of your scene. Do you want it to be a little bit more low poly? Or do you want it to be a little more detailed and have a higher poly count. So it depends on what you're looking for. But for now, I'm gonna leave it at viewport level one. In the next video, Let's go ahead and work on the legs. And then we'll also start on the trim here for the cushion. 10. 010 Creating the Legs of the Chair: Before we start on the legs, there's just one or two more things I'd like to do. Like I want to add an edge loop right in here and drop this down a bit so we get a tighter turn there. And then maybe I'll grab an edge or a face right in here and pull that back just a little bit like that. Let's try that. Then also, I'm thinking that this is a little bit too thin the back. So maybe I could go to face mode and hit the C key and select these faces here. And just pull this straight back. Just pull that back like that. Just give it a little bit more thickness there. I think. Let's now work on the legs here. These legs on the front are a little bit different than the back. These on the front are very similar to the legs we've already created on the two tables. So let's begin with that. Let's begin with one of these. I'll press Shift a mesh and let's create a cylinder. Let's take the vertices down to 16. I'll take the radius down to 0.1, and then this down to 0.2. We'll keep our in guns on the top and the bottom. And then I'll just hit G and move this over here. And let's begin with this. So how big should this be? Let's begin with it about like this. Maybe like that. Let me hit the three key to go to the side view and I'll bring this forward. It's a little more in front like this. Now with this selected, let's hit E and pull down and hit S and scale in a bit. Then let's do that again. Now I'm here, so let's just go straight down with the E key and then E, and pull down and S and begin creating this curve. It looks like it goes out about as far, maybe a little bit farther than the top part. Let's go ahead and do that. I'm going to begin bringing it back in now. Something like that. Then like that. Then let's bring this down to about right here. Now we need to create this little piece. And instead of bringing in a UV sphere again, I'm just gonna do it manually here with E and S. We go something about like that. Let's try and get it back to where it was. I feel like I need to adjust these a bit now. I'll just press Alt click to select that whole edge and then maybe scale it in a bit. There we go. Then we just need that final piece down here. So let's just select that, hit E and bring it down. And then maybe I'll just scale it in just a little bit. I know it looks straight, but I wanted to kind of angled. So let's try that. I'll press Alt Z and see how that is. Alright, I think that's pretty good. Well, now that I've done that, it looks like it really ought to be straight, so I'll press Control Z to go back like that. Yeah, it should be like that. Okay. So now let's try and get it in place. I'll move it over here. Move it forward a bit. So let's go ahead and smooth it with Shade Smooth. And do we need to add any edges to it? I feel like we do. I feel like we need an edge up here on the top, maybe right here. So let's press Control E and mark sharp there. Then I think down here, Let's try this control E, mark sharp, just so we have those. And they really won't show up until we turn on auto smooth over here and now you can really see them. And then let's just click and drag up a bit. Here we go. Now let's mirror this leg over to the other side. And just like before we need to move that origin to the center of the grid. So I'll come up here to object set origin, origin to 3D cursor. And instead of using the mirror modifier this time, let's use the mirror tool. If we come up here to object and mirror, you can see the interactive mirror tool is Control M. With this selected, let's first of all duplicate it with Shift D and enter. And then let's press Control M and let's choose what axis we want to mirror in. I'll hit the X key and then hit Enter. And there we go. Now we've got our two front legs. Let's now take a look at the back leg. It looks like it's a lot simpler. I think we could get away with just using a cube and kind of angle it. Let's do that. Let's press Shift a mesh cube and let's scale down quite a bit. I'll hit the three key, and let's hit G and just move this over back to here. I'll get it. About the right width and maybe about like this. And then I'm going to remove the top and the bottom of this. Hit the period key on the number pad to zoom in. And I'll hit the three key here and select these two faces. And I'll hit Delete and delete faces. Now let's go to the front view. And let's bring it over here to the corner, the side view. And let's just take this top edge. I'll hit the one key for vertex mode, alt Z and drag select these and I'll just hit G and move these up like this. I'll hit the a key, select everything and just move it back a bit. So that's kind of what we want, but it's not quite right, is it? What Let's do is take these points up here and let's just press SY and let's expand those just a bit. And then maybe I'll bring it in some, let's maybe curve it just a little bit. It just feels like there's a bit of a curve there. So I'm going to press Control R and add an edge here and then just bring it in, control R. And then just bring it in just a little one here and do the same here. So there's just this tiniest little hint of a curve there. It looks like it's narrower from the front. So let's press Sx and scale in like this. And maybe that top expands a little bit in the x-axis as well. Maybe I'll press Sx and scale out here. Alt, click this edge, sx, alt click this S and the X key and just scale out just a little bit. We don't need a whole lot there, something like that. Now it looks like it's kind of turned. So let's turn it in the z-axis, RZ. Turn it just a smidge. Maybe let's move it out to the corner here. I think we had to turn it a little bit more than that. Let's try that. Let's see how that works. Now I feel like it's not wide enough. And if I scaled in the x-axis here, it would skew it a bit since it's turned. So we can come up here to the transform orientation menu and change from global to local. And now that x-axis or all of the axes match the rotation of the object. Now if we hit S and X, it will scale it out properly in that local x-axis. Let's now smooth it. I'll right-click and shade smooth and we've got some issues there. Let me click on auto smooth. Yeah, that works a little bit better. And let's mirror that leg over in the same way we did these. So let's move the origin to the 3D cursor. Then let's duplicate it. Shift D Enter, and we better change our transform orientation from local to global here. And then let's press Control M, hit the X key and hit Enter, and let's take a look at it. How do we do? Yeah, that looks pretty good. What Let's do in the next video is actually work on the trim here let's use the path tool to create some trim all the way around on the top and the bottom. And also see if we can do one right in here. That's coming up next. 11. 011 Using the Path Tool: To begin on the trim for this cushion, lets first split this cushion off as its own object. So I'll select the chair and then tab into edit mode. And oh, it looks like we've still got the back selected. So I'm going to press Alt aided, de-select that. And then let's come in here and hover over this cushion and hit the L key. And let's make sure that that's the only thing selected. Now let's split it out as its own object. And we can come up here to the Mesh menu and separate, and then separate by selection or of course the P key. But I'll click that. There we go. And now let's tap back into object mode and just select that cushion to hide everything except the selected object. We can come up here and go to Object, Show, Hide and hide unselected or Shift H. So I'll just press Shift H. Now we just have that one object. Now what we're gonna do is create a path and then use the shrink wrap modifier to lay that path along the top of the cushion. And then we'll just duplicate that and bring it down to the bottom. However, when we use our modifiers in Blender, we need to keep in mind that they actually use the scale and the rotation settings here to give predictable, consistent results. I think first of all, I'm going to apply the scale. The scale currently is non-uniform, so let's press Control a to bring up the apply menu and then I'll click on Scale. There we go. Now the scale is all uniform, all ones. Alright, so now let's create a path with shift, a curve and path. And there it is. If we tab into edit mode and see that it's just five points. If we turn on the Move tool and move this out, you can see that these points are defining a curve here. As we move these points around, we changed the shape of the curve. I'm going to press Control Z. Let's take this whole path here and let's move it up and then move it forward to here. And then I'm going to hit the S key and scale it in just a bit like this. Now, as I extrude this around the exterior of the cushion, I want it to happen on the other side too. So of course we can add a mirror modifier to that. So I'm gonna select these two points and hit Delete and delete vertices. And then I'll tab back into object mode and let's add a mirror modifier. And there we go. We have it on the other side. Now, with that done, let's now add that shrink wrap modifier. So if I come up here to add modifier, click on shrink wrap, and then let me twirl this up so we can see this. Let's click on the eyedropper and then select the cushion here. Now we have that object in the target. If we tab into edit mode, we can see that we've got that path shrink wrapped to the object. Alright, I'm gonna turn on the apply on spine here just so we can see that. And then I'm gonna hit the seven key on the number pad. Now we can just begin extruding this around until this path is all the way around the object. So let's select this point here. Hit the E key and I'm gonna move to hear an e and then keep going on around them doing three points per curve here. Then let's go around this curve and I'm just hitting the E key each time. Here. I'll do three points at this curve and then let's come back here. Hit E and then it looks like we don't have clipping turned on yet. So let's come into the mirror modifier, turn on clipping. Now if we just take this and drag it in, it'll clip into the center of the mirrored object. All right, so let's tap back into object mode. Now we need to make this object a tube, kind of like this trim here. To do that, we want to come down here to our object data properties right here. And I'm gonna take this and just move it over so we can see a little bit better. And under the geometry section right here, we need to scroll down and click and drag on the depth field here under bevel. So I'm gonna click and drag and as you can see, if I do it expands out. However, it doesn't look real good, does it? It doesn't look like a tube. It just gets flattened, smushed. Let's go back to the modifiers panel. And we need to ensure that apply on spine is on and it is. But now I'm just going to take this modifier and drag it up above the mirror modifier and then drop it. And now we can see that tube. We just had to get the shrink wrap effect up on top of the mirror to be able to see that tube. All right, let's go back to our object data properties. And let's just click and drag in the depth field. Maybe I'll hold the Shift key down. And let's say we wanted about like that. Let's try that. Now we can of course, come in and hit the Tab key and move points around to try and modify the location of this if we want, we could maybe pull these back a bit. We could maybe take all three of these and hit the G key and slide them. So you can come in and just do some rearranging if you want, where the points are on the mesh. But ultimately we're going to need to apply this modifier and then do our final adjustments. Once we've done that, what I will do here is take this object and let's go ahead and apply the shrink wrap modifier here. When we do this, we usually want to modify her to be at the top of the stack when we apply it. So I'm gonna pull this down and click Apply. And there we go. Now, if we take this a and tab into edit mode, if we move this out, it no longer sticks to the object, but we've got the general shape that we want. Now, if we have the trim going into the cushion just a little bit too much, we could take these and we can actually just bring them out a bit. Now we can do a little bit of adjusting. I'm going to select everything and hit the period key on the number pad to center that up. And then we could do a little adjusting here if we wanted, we could move that out a bit. So if you're seeing any gaps in here, say in here like this, you could take these and you can move them down a bit. You can move a point over like that to close that up. Alright, now let's duplicate this top trim and bring it down for the bottom. So with this selected, let's hit Shift D and Z and pull this down like this. Let me go. Now let's go through and do a little bit of adjusting here. So it at least looks good upfront. We don't really need to care about the back here. But upfront, I think it'd be nice to have a little bit better fit for this path. So let's go through and just kind of pull these up to get them so they just barely intersect with the cushion. All right, so we've got that trim on there. Let's now bring the rest of the chair back with Alt H. There we go. Alright, I think that looks pretty good. I think the next thing we need to do is use that same process to create some trim on the front of the arms. We also maybe need a little panel. You can see that this is just a panel sewn on and then held on by the rivets. You can see that here. So maybe we'll create a panel like that and then use the trim to kind of outline it as well. So we'll work on that coming up next. 12. 012 Creating the Front Panels of the Arm Chair: Now for the panels on the front of the arms, let's this time hide everything except the main chair. So let's select the chair and then press Shift H, and that will hide everything. And then let's hit the one key on the numpad and tab into edit mode. And I think I'd like to maybe just grab these faces here like this. And let's duplicate these shift D. Then I'm gonna pull it forward just a bit. I think I'd like to split this out as its own object as well. So with this selected, I'll hit the P key and choose to separate by selection. All right, so now we've got this piece right here. Couple of things I want to do. First of all, I'm going to turn off the mirror. I'm going to just hit the X here. I'll also turn off the subdivision surface. I don't want that right now. So let's try and get this into shape. We don't have a whole lot of geometry here, but I think if we just select these in the front view, I've hit the one key on the number pad. Now let's just take these and begin to kind of move these around to get something kind of like that panel there on the front of the arm. Maybe something like this. Looks like we're gonna need more geometry here. So let me just move these up like this. Then I'll press Control R and add an edge loop in here. And that gives us a few more points to work with. And then maybe it needs to be a little bit smaller. Let's try that. I'll hit the a key and the G key and move it down a bit like this. And then let's add a subdivision surface modifier to this. Better, move this down here again. Then let's go here, subdivision surface. And I'll turn on the edit cage here. And let's see what that looks like. Maybe add an edge loop here, maybe add another one in here. We just have a little bit more room to move points around here. Then I think I'll take this whole thing and move it back. So it's kind of inside there. And then let's extrude this out in the y-axis. Let's just hit E and pull out like this. Then I'm gonna shrink this in just a bit. I'll hit the S key and shrink it in just a little bit. And maybe S and Z and shrink it in like that. We just have a little bit of a bump there, kind of like this, how it's curved out there. Let's pull this out just a little bit. Then on the back of this, I think we need to remove the faces. I've just extruded these out. And when we did, it left faces on the back. So if I go to face mode and just select these faces here, Let's hit Delete and delete faces. There we go. Now that kind of gives us something that we can pull back into here, I'll just hit the a key and edit mode and pull this back. Now that we have that, let's create a new path around that. So the trim will be kind of going around the outline of this kind of like the rivets are doing here. Let's now create a new path, shift a curve path. Let's bring it out here. I think alternate in the y-axis, RY 90, like that. Let's scale it down. I'll hit the S key. Let's bring it up and over into place along here. I'll hit the period key to zoom in and frame it up, and then I'll hit the one key. Let's shrink it down a bit more. Now, I want to shrink wrap it to this curve here. Before I do, I'm gonna come in and press Alt Z and select a couple of these. I just wanted to shape this just a bit. We go yeah, something like that. Now I'm going to turn this a bit, get it in line with this object. And then let's take this, let's go to Add Modifier shrink wrap. And I'll click the eyedropper and then click this pad. Here we go. So now let's tab into edit mode. Select all of these points, and let's move this down so it's on the outside here. I want that black line on the outside of it, kinda like this. There we go. Then I'll hit the one key on the number pad. Let's select a point. And then let's just begin hitting E and extruding this all the way around like this. The same way that we did for the cushion. There we go. Now we've got that all the way around there. Maybe I'll hit the a key and slide it back just a bit. And there we go. Now let's give it some depth. I'll come over here to the object data properties and better click on it. There we go. We have it selected. Let me move this. Let's go down to the depth field and let's click and drag. And once again it's just smashed flat along the surface there. So let's go back to the modifiers panel and we don't have a mirror modifier on this, but we can turn on apply on spline. And that helps quite a bit. So let's see, we can get these out. So they're a little bit more on the outside of this object. It doesn't really look like we can do that while we're using the shrink wrap modifier. So let me go to the object data properties. And let's maybe bring this down just a bit. I don't think it needs to be that thick. And also let's press Alt H to bring back that cushion so we can kind of get a sense if we're doing the same thing or the appropriate size here, it looks like maybe I could bring it down a little bit, something like that. Now we do have a bit of overlap here. I'm not going to deal with that until we get this trim in place. Let me select the trim. Let's go back to the modifier panel. And I'll pull the menu down and click Apply. Now I'll go in and select that path. There it is. Let's begin moving these out. They're not hidden behind here. All right, that looks pretty good. The only thing I can say is that we may need to move this here and this. Maybe we could take this whole thing and move it forward just a smidge. And then we might be able to adjust these a little bit better. Maybe we could actually take some of these edges in here or even faces and just grab these and move them in a bit. I guess I could take this and delete faces and then grab these. And let's just move these back just like this. Let's try that. Yeah, that looks pretty good. Let's try that now. We just need to mirror these over. So first of all, I'll take this one here. It looks like the origin of the object is pretty much in the center, but I'm gonna move it down to that 3D cursor. I'll go up here to object set origin, origin to 3D cursor. Then I'll duplicate it, shift D, Enter and mirror it, Control M, hit the X key and enter. And then let's do that for the trim as well. Let's move that origin to 3D cursor. Shift, Enter, Control M, X, and enter, and there we go. Now the last thing is to convert all of these paths to geometry so that we can combine them with the rest of the object. We will work on that in the next video. 13. 013 Finishing the Arm Chair: Now ultimately I'd like to combine all of the different objects we have here into a single chair object that we can move, duplicate, UV, map, texture, etc, all as one single object. But the problem we face is that the different objects on this chair are different types. The main part of the chair, the legs, the cushion, or a polygon objects, but the different pieces of the trim curves. What I'd like to do is convert the curves to polygon mesh objects. So to do that, let's first select a path and let's figure out once again how many polygons it's going to have once we convert it. We looked at a similar thing with the subdivision surface modifier. And for this we just hit the Z key and go to wireframe once again. And you can see all the little polygons that are gonna be created if we converted this at this resolution. So let's go over to our object data properties. And we've got a resolution for the bevel at four and resolution preview at 12. Let's take the preview down. If I just click here and reduce it one by one, you can see how it's reducing the amount of polygons each time. And it looks like if we go down below three, it gets a little blocky. So let's leave it at three. And then if we come down to the bevel, Let's take the resolution for this down to two and that reduces the resolution around the circumference of the tube. All right, so that looks pretty good. We've got two here and three up here for our resolution. Let's hit the Z key again and go to Solid View. Let's go ahead and convert it. Currently, if we hit the Tab key, you can see we've got all the points of the path. But if we right-click and choose Convert to and convert to a mesh. Now if we tab into edit mode, you can see we've got the polygons. That's good. Let's go through and do that for this one down here. Let's change our resolution preview to three. Down here under bevel, we put that at two. Oops, that's one. Let's put it at two. And then I'll convert it to a mesh. And it's also do these here. Let's type in three here to down here and convert this one over here. And convert that also. Now that we've got all these has a polygon mesh. We can take them all and we can combine them. Let's take a look at what kind of modifiers we have on these, because we can only really combine objects that have the same kind of modifiers for this and this. We've got a subdivision. For this, we've got a subdivision and a mirror. We've got a subdivision and a mirror for the cushion. And we don't have anything for the paths or the legs. Let's first of all select the chair. And let's apply that mirror modifier as well as our subdivisions. And if we want more resolution here, we can always in the future come back and just add another subdivision surface modifier and that'll add more resolution. But for now let's leave it fairly low poly. I'm gonna select these panels and apply the subdivision for these. Then for this, let's apply the mirror for the cushion and then the subdivision modifier as well. Alright, so now we should have everything without any modifiers on them at all. All right, that's good. So now let's take it all and let's combine it together. Let's see if we can just hit the a key to select everything and then press Control J. We go. Now we have a few issues here. We don't have any edges on the back legs. But if we come over here and turn on auto smooth and then click and drag up, we may be able to alleviate some of that. Yeah, If we take it up to about 75, that cleans quite a bit of that up. Alright, so let's select our chair, give it a name in the outliner. Let's turn on our furniture and the reference figure, I'll drag this into the furniture and then let's just scale this down and try and get it to be proper size. Let's put it next to the guy here. Maybe we can even take our table here. Alright, there we go. We've got our chair. I feel like for the size it is, It's a little too wide and tall. But I'm gonna wait to do any adjustments on this until we get other things in the scene. I feel like we're gonna need to make this a little bit narrower and bring the top of the chair down a bit. But as I said for now, we're going to leave it as is. It's pretty close and we'll be able to get it a little better once we can do it in relation to other pieces of furniture. And speaking of other pieces of furniture. In the next video, we will begin on something else. 14. 014 Starting the Dining Chair: Let's work on something a little different now. Maybe maybe another chair. But if I right, Yeah, This one right here, this has a little bit more flair to it. I think we've also got this one, but let's give this one a try. Press Control Spacebar and zoom in here. This has some interesting challenges to it. The backside is a little more curved here. We've got some interesting arms and this back here with the padded cushion is kind of interesting. We've got similar legs to the previous chair on the front and on the back. But I think this might be kind of fun. And again, I'm not gonna go through and deal with all of these little rivets and stitches. We're not going to get quite that detailed in our modeling here, but let's begin work on this. I'll go ahead and hide the furniture and the reference collections. I'll click on the Scene Collection, so that'll drop in there. And I think first of all, let's begin with this base would piece right here. Let's just begin with a cube. Shift a mesh cube and I'll scale it down with the S key a bit. Maybe bring it up and scale it in the z-axis with S and Z. And maybe get mad about that thick. Let's see. Maybe we wanted about this high. I'm just kind of getting very rough proportions here. Let's just say it's something like that. All right, now, before we do anything here, I think I will split this down the middle and add a mirror modifier so we're sure to have things happen on both sides. So I'll tab into edit mode and press Control R. And then with this edge right down the center, I'm gonna hit Enter two times. Now one thing I don't think I've mentioned is that I tend to like to model and to set up the objects on modeling with the x-axis to the right. So the positive x-axis is going to the right. You can see that up here, the y is going back and z is up. So I just generally gravitate toward this orientation whenever I begin modeling. I'm not saying that this is necessary. I'm just saying this is what I do and I just wanted to point that out. If you are interested in doing it a different way, that is just fine. I do like to try and keep my models that I'm working on situated in the center of the grid because frankly, it's just easier to do things like this. Actually add a mirror modifier and to scale and move in the global axes, etc. With this modifier on, I'm gonna go ahead and turn on clipping here. And now how do we get this rounded part in the back? Well, I think I'm going to use a bevel on these back corners here. So I'll just hit the two key to go to Edge mode and select these back corners. I currently don't have the cage turned on, so I can't see that it's selected over here. I'll go ahead and click here to turn that on. And now we can see that. All right, so with that selected, let's just press Control B and pull that out about as far as we think it should be. And then maybe I'll scroll the mouse wheel and add a few more segments in there, maybe something like this. Now with this bevel panel, we can adjust this a little more so I could come down here and maybe the width, maybe we want to increase the width just a bit like that. You can, of course add segments here. But I think that looks pretty good. Maybe something like this. Let's begin with that. And then let's, let's create these little pieces right here, this little cube and this. And notice that they have a little bevel on the corners there again. So let's press Shift a mesh cube and let's scale this one down quite a bit. I'll hit the one key on the number pad to go to the front view. And let's just maybe scale this in the z-axis and then hit G and move this up here like this. Let's try this. Hit the three key and move it up some. I just wanted to kind of hanging off the edge a bit like this. I think it's kind of just a little bit from the corner. And let's pull it up. Maybe something like that. Yeah. Alright, so now let's tab into edit mode and let's hit the one key. And let's select these four vertices here. And let's add a bevel to these. But instead of Control D, Recall it's Control Shift B. So let's press that, move the mouse out. Now I've got quite a bit of edges here. I'm gonna scroll the mouse until it's just one. Like that. Let's try that. I could click and drag for the width here. Let me bring the width down just a little bit like that. There we go. So it's something like that. Now we could of course, mirror this over to the other side. To do that, we just need to move this origin into the center of the grid. If your cursor isn't in the center of the grid, you can always press Shift S1. And that will ensure that the cursor is in the center of the grid. And then let's just move the origin, go to Object Set Origin and origin to 3D cursor. Now we can mirror this over and recall to do that, we just need to duplicate it first shift D and enter, and then to mirror it, we press Control M and then the X key to mirror in the x-axis and then hit Enter. And there we go. All right, so we've got those pieces in. I feel like now we probably need to move these up just a little bit like this. Let's try that. Once again, I'm always readjusting and working on the proportions as a modeling. All right, now this cushion here, this seat cushion, let's, let's begin with another cube. I'm going to just press Shift a mesh cube and let's scale it down and I'm gonna bring it up and I want it to be just a little bit bigger than this is. I'm going to scale it out just a bit like this. Maybe move it up a little bit. Then let's scale it in the z. And I'll just bring it down like this. Yeah, there we go. Let me bring this down. And then I think what I'd like to do is add a subdivision surface modifier to get some of these curves. However, let's go ahead once again and add a mirror modifier to this. Press Alt Z and hit the three key and select this side again, delete and delete faces. And now let's add that mirror again. Turn on clipping. And this time I'll keep the cage off for just a minute because I'm going to add a subdivision surface modifier. Now let's tab into edit mode and take a look at it. Well, actually what I wanted to do is leave the cage off of the subdivision surface. Let's go ahead and turn it on on the mirror. There we go. That's a little better. Now I think I'll increase the viewport levels on the subdivision surface modifier just so we can see that a little bit better. Then let's press Control R and bring this down. Here. We get a little bit tighter of an edge on the bottom there. And maybe we should smooth it to Let's tab into object mode and right-click and click shade smooth. And yeah, that's a little bit better. Now for the front, it looks like it's a little bit tighter on the front and it may be on the back. So let's bring this up like this. This I think is a little bit more rounded on the back. Let's tap into object mode and see about how that looks. That's actually not bad. I'm going to bring it down some and maybe move it forward a bit. Maybe scale it out just a bit, just hit the S key and bring it out just a little bit more. Maybe I will bring this edge up just a little bit more like this. There we go. And then bring it forward just a bit. Maybe. I just want to bring it over and drop it down. Just a smidge like that. Yeah, I think that looks pretty good. There. We've got the seat and the base of the chair. In the next video, let's work on the legs and maybe begin on the back. 15. 015 Creating the Legs of the Dining Chair: Well, for the legs, we've done this thing before, haven't we? So let's begin with a cylinder shift a mesh cylinder. And for this I'm going to take the number of sides down to 16 and I'll leave an end gun on the top and the bottom. Let's go to the front view with numpad one. And I'll scale this down quite a bit, a G and move it up. Hit the period key on the numpad. And let's kind of get this about the right size. It looks to me like there's a little part right here. That is going to be where we begin, right around in here. Now let's hit the three key on the numpad and go to this side view. And let's bring this forward like that. And then back to the front view. Let's tab into edit mode. Press Alt Z, hit the one key, and here we go. If we bring this up like this, I think we can see that that's right there. So I'll just hit E and S and scale out a bit. Then E and bring this down. Then let's hit E and S. Maybe not that much. So I'm writing here now. Let's extrude that down a bit. And for this, I think I'm just going to extrude this and scale rather than bringing in a cylinder, Let's just hit E and S. E and S. Do that again and maybe begin bringing it in now. Something like that. Then this area right here, let's just go straight down. We've got these little ridges here. I don't really know how detailed we need to be here, but I'll just add a couple like this. Here we go. And then let's go ahead and hit E and scale out a bit. Maybe I'll bring it down a smidge and I'm just going to get this right here like that. And then let's bring it in a bit like this. Then we can pretty much go straight down to the feet right there. So how far should that be? I'll hit E and come down to about here, let's say, and scale in. Then. Let's take a look at this. So similar process, I think we just need to hit E and S again. And let's just create this piece. Bring this down like this. Then maybe this, I'll hit E and S and bring this down. Something like this. Let's try that. Let me grab this edge right here and bring that. In fact, maybe I don't even need that edge. Let's hit Delete and dissolve that edge. And then maybe we can just bring this one out at the S key like this. Yeah. Alright, so let's press Alt Z. Let's tab back into object mode and let's take a look. Is that about right in terms of scale, if feels like the proportion of it is a little bit off now, doesn't it? I'm going to go back to the front view here and just select these and bring them up a bit like this. Trying to get a similar proportion to what we have in the image here. Then let's tab into edit mode, and I'll just select everything and let's bring it all the way down like this. Let's try that. All right. Yeah. Let's go with that. I think that's pretty good. Of course we can continue to adjust the proportions at any point in time. I'm gonna right-click on this in object mode and choose Shade Smooth. And then I'll come over to our object data properties. Turn on auto smooth. Yeah, that's pretty nice. Let's drag this up some and see what else we can get. Yeah, I kinda like it right around here. Like around 47. That's kind of nice. All right. Let's take this leg and let's move the origin to the 3D cursor list. Press shift D, Enter Control M and the X key and hit Enter. And there we go. Now for the back legs, these are very similar to the previous chair. And I think they should be fairly simple. But let's go ahead and smooth this real quick. Let's do that and then turn on auto smooth. And that cleans that up really nicely. All right, so let's press Shift a mesh cube and let's bring this down. I'll hit the three key on the numpad to go to the side view. And let's press S and scale this down. And I'll hit G and move this maybe over to about here. Let's say. Now, what I want to do is just grab these points here, hit the G key and move them up. So maybe they're about right here, and maybe these can go back a bit. I'll hit the S key and scale them in some. For these up here, we should probably scale these out. It looks like it's just a little thicker here on the top than it is on the bottom. Now let's take a look at it from the front with numpad one. And I think this could probably come in a bit Sx. It's pretty thin here. Even up here, it could probably come in a bit like this. Alright, let's try that. Now that we've got that, I'll take this whole thing and move it over. It over to here. Then from the side view, Let's see if we can give it a little bit of that bend there. Let's press Control R and add an edge loop here in the center. Then I'm gonna pull it in just a bit. Control R, do the same thing here and pull it in just a smidge. Maybe hold the Shift key down and then I'll press Control R and one down here. And let's do the same with this. I'll move that in just a bit, just so we get a little bit of a curve here. Just a slight curve. We go, alright. I think I'd like to move the origin to the top of this object. So to do that, Let's select this face on top and then press Shift S to move the cursor to that point. And then we'll tap into object mode and come up here to object and set origin, origin to 3D cursor. Now we can turn this if we press R and Z here in this axis like that. So hopefully that will help us as we began to try and place this. Because I can see it's turned a bit. Let's maybe move this in here and then press RZ and turn it. Then I'll click and drag on this little blue square right there to kind of get it inside like that. How does that? Well, I think that may be a little bit too far forward. Let's click on that blue square again and move it this way. Let's try that. There we go. I'll move that cursor back to the center of the grid with shift S1. I realized that this little area on the bottom, I kind of want to have this pushed up. Not that we will ever actually see the bottom of this chair, but I wanted to do it. Let me select this face here. To inset this face, I'm going to press the I key. And as I move in you can see it's giving me two faces because it's been mirrored. Now if you look up at the top of the screen here now I'm going to have to get out of this. I'll hit Escape. But when I hit the I key again, look up here at the top of the screen and you can see that there's a thing for shortcut key B. So I'll hit the I key again and push in. And now look up at the top, it says B for boundary and that is on. So currently we have a boundary between the two sides of the mirrored object. But if we hit the B key and turn that off, now those come together. And that looks a little bit better. So I just want a little bit of an inset here. And then I'm going to extrude and push it up just a little bit like that. That's it. That's all I wanted. Just a little bit like that. Now that I've done that, I want this to come up here too. Let's tab into edit mode, and let's just take that face there and let's just pull it up until it intersects with that. I know, as I said, No one's ever going to see this under here, but I wanted to do that. All right, so now we have that leg there. Let's select it. Let's move the object origin to the 3D cursor. And then let's press shift D, Enter, Control M and the X key, and then Enter, and that duplicates and mirrors that over. Alright, so now we've got the legs here. In the next video. Let's work on the back. 16. 016 Modeling the Back of the Dining Chair: Now let's turn our attention to the back of the chair. And this object is a little bit more complex than we've done so far. But for something like this, personally, I think it's easier to get this kind of a shape first in two-dimensions, in other words, with just a polygon plane. And then once we get the shape the way we want it, then to give it thickness. I think it's very difficult sometimes to deal with three-dimensions while you're trying to get a complex shape. Let's begin with a polygon plane and see what we can do to get something that looks like this. Alright, so let's press Shift a mesh plane and let's turn it in the x-axis, our x 90. So turning at 90 degrees in the x-axis there, then I'm gonna bring it up here. Kind of get it in place and try and get a sense of how big it should be. I'll scale it in the x-axis. Let's scale it in the z with S and Z. Then let's bring it up a bit. I'm just trying to get a sense of how big this should be. Let me bring it in back to here. Let's see. What do you think Is that about, right? It may tilt back a bit, but I don't want to deal with that until we've got it pretty much in place, pretty much completed. So I think that looks like a pretty good height at least to begin for now. Once again, let's tab into edit mode and press Control R. And let's put an edge right down the center. I'll hit Enter two times, go to face mode with the three key. Let's select that face and hit delete and delete faces. Okay, now let's go back to the modifiers panel and add a mirror modifier. Let's turn on clipping. And so from here I think we just need to insert some edge loops to try and get this basic shape. So I'm going to tab into edit mode and press Control R. And let's first of all get this piece right here. Let's say that that's about right here. That's where the arms will go. Right there. Then up here, Let's say maybe this piece right here is around here. I'm gonna hit the one key to go to vertex select, and I'll take this and move it out. Because it looks like this is a little bit farther out than this piece here is press Control R. Add an edge in here. And I'm just going to bring this down right about, let's say to here, select this point and move this in. I just kind of beginning to get that curve in like that. Now it seems like it curves a little bit on top. So let's do that. Alright, so that's a very rough outline of that shape. I'm going to Alt click this down here and I'll turn on the cage so we can see it on the other side. Maybe bring this up a bit. There is that basic shape. Now what Let's do is let's add a subdivision surface modifier. So we get those curves a little bit smoother. Right here. Now let's start adding some edge just to hold those corners. So right in here, Control R. Let's bring this down. Here. I think we need probably one in here. Probably one right in here as well. Notice once again, as I mentioned before, I'm keeping everything in the global axis. I'm not tilting it yet. I'm keeping it all aligned to the global axis so it's easier to move things and get the shape that we want. Maybe I'll bring this in a little bit more. Maybe we need one right in here. Let's try that. All right, We're getting there. And do we need an edge vertically here? Let's try this. Let me do that. Alright, so as for just the basic shape, I think that's pretty good. Now Let's do is try and bend it a bit. So instead of taking these outer edges and pulling him forward, I'm going to Alt click this center edge. I think I'm gonna pull it back a bit using the proportional editing tool. So if we select this and if I hit G and y, gy, you can see this area of influence that this has. We can use this to pull that center edge back proportionally. So I'm gonna hit the seven key on the number pad to go to the top view. And let's hit G and Y. Then I'm just going to pull this back a bit. And you can see how we can change the shape of the curve by changing the influence, the sphere of influence here. Maybe I'll bring this out like that, like this. And then I'm gonna take this edge right here and go back to the top view, press G and y. And I want to kind of bring this. Back just a bit. And then let's select this edge and do the same here with GY. Maybe pull it forward just a bit, just a little. Then I think I'm gonna turn this in the z, r, z, kinda turn it like that, just see what we can do with that. Let's try that. All right. Not bad. Feel like there's a couple of problems here. I'm going to turn the proportional editing tool off and bring some things in just a bit here and here. Then let's smooth it off, tap back into object mode selected, and right-click and shade smooth. I think I'll also increase the viewport level over here. Alright, so we've got a pretty good shape there. Now I'm gonna take this and just move it back forward just a bit. So it kind of curves around that seat cushion a bit. I feel like maybe we could bring it in in the x-axis. I'm gonna press Sx and scale it in just a little bit. What Let's do now is let's add a solidify modifier to it. To do that, we can select it, come over here to the Add Modifier panel, and let's add a solidify right here. Now once we do that, you can see it kind of adds a little bit of thickness. And let's choose even thickness. Then click and drag and the thickness field. And you can see as we do it, pulls it out like that. So we wanted something like this. However, we also want to try different arrangements for the modifier stack. So what if I took this and drag it up above the subdivision and then dropped it, well, that means the solidify happens first in the stack and then the subdivisions. So we really can choose which way we want it to go. I think I want it like this. So this solidify happens first. Let's then go into this solidify and maybe add a little bit more a thickness to it, like this. There we go. Now that we've got this, I think what I wanted to do is I'm going to duplicate this and then hide it away because I'm going to apply all of these modifiers. And if there's something wrong, I want to be able to go back to this. I'm just going to press Shift D and enter. And then I'll come into the outliner here and just hide this. There we go. We just have that hidden away in case anything goes horribly wrong. I'm going to apply the mirror modifier here. Then I'm gonna apply the solidify. And with the subdivision surface still on. I'll tab into edit mode and let's add a couple of edges right in here. I'm just going to scroll the mouse wheel and add two like that. There we go. From here, what Let's do is duplicate this to get that cushion. I'm going to turn on the cage here. And then I'm just going to hit the three key. And let's hit the C key and then just select all of these phases in here. Like that. Now I'm just going to press we've got one selected there and make sure we're okay. Yeah, I think that's okay. And then let's press shift D and Enter. Then I'm going to press the P key and separate by selection. Now it's its own object. If we tap back into object mode and just select that one piece. Now I'm going to scale that in a bit and maybe scale it in the z, so it's a little bit taller. Scale it in the x, something like that. Just come through here and get these points so it kind of matches the back of the chair. So I'm gonna hit G2 times to slide this up. Then I'll press Sx and scale out a bit. Now let's select that whole thing. And I'll just extrude this out. So E and pull out like this. Now here's a fun trick. What I'm gonna do is just select all of these. All of these in here. Let's make sure we have them all selected. Need one here. I don't need these two down here, but I'm gonna select all of these now on the front and delete them. Delete and delete faces. And then I'm gonna select all of this and spin it around a 180 degrees RZ 180. There we go. Now we've got a bit of a cushion, a bit of padding there. So to flatten it up just a bit, I'll press SY and let's bring this in like this. And then bring it back. And then we can do a little bit of adjusting here. Listen now go in and just begin pulling some of these back a bit. We could also take that whole piece there, that whole edge, and we could flatten it. We could press S Y 0 and that will flatten that up. Then we could bring it back like this. Then we could bring these individual pieces back into the back of the chair if we wanted. So just to kind of a little roundabout way of getting these in there fairly quickly. I'm just going to select these now. Pull them back. We go. Maybe I'll grab this edge right here, deselect these two points, and pull these back just a bit like that. You see what I'm doing? I'm just trying to get this to feel more like a cushion. Maybe I'll select this and control-click this point. And that'll select everything in-between those two points. Maybe like that actually, maybe I'll grab these two or these three, I should say. All right, we've got the back of the chair in. There may be a little bit more adjusting we can do, but in the next video, Let's start on the arms of the chair. 17. 017 Completing the Dining Chair: Now for the arms of the chair, it looks to me like we could maybe begin with a cube right here and then extrude up, then extrude back around to the back of the chair. Let's try that. I think I'm gonna start on this side just since we have it more visible here. So I'll press Shift a mesh cube and let's scale down quite a bit. I'll go to the front view with numpad one and hit the G key. And let's move this up into here. And I'll scale on the x just a bit. I'll scale in the y SY. And let's move it forward. And it looks like it's just a little bit behind the leg right in here maybe. Looks like it goes down to there. Then it looks like this just comes up to here. Since it's got this little thing right here, what Let's do is let's just take this and bring it back. Don't let me take this face here and bring it back like this. And then let's put an edge loop control are where we think that little ridge would be. Then let's select this face here and extrude it out. Let's get this whole thing so it's a little bit narrower. Sy, there we go. Let's select this now and just hit E and pull this out. This is what we're going to extrude up. So we've just got this hint of this little edge there, right? So then from here, let's take this and extrude this up to here. Bring that up to here. Then it looks like it kind of curves a bit. We're not going to really do an actual curve. It'll be a couple of extrusion. So let's go to the front view and let's just hit E and pull up and then just pull out like this just a bit. And then let's extrude up to here. And bring it up to say right about right about here. Let's say it looks to me like it gets narrower here in the y-axis as well. So let's do that. Let's press SY. Maybe this one down here does too. Let's do that SY just a little bit. Then if we take a look at it from the front again, it looks like it comes out and gets a little thicker. So what Let's do is let's hit E and pull up. And I feel like we need to add an edge loop in here. And then take this face and extrude it out. So let's hit E and do that. And then if I take this and pull it up like this, so I'm just trying to get that basic shape there. Let's take a look at that. Let's just take a look at that and see what we think. Well, in terms of the size, I feel like it's just not quite big enough. So I'm just going to hit the S key and scale it up a little bit. Also, I feel like it's not quite big enough in the y-axis now, it looks like I went a little bit too far there. So let me bring this out. This. Alright, so now that we have this, let's begin extruding back toward the back part of the chair. So I'll take these two faces here and it just feels like I need to come up a little bit higher here. It also feels like that kind of bends a bit. So maybe I'll tilt it just a bit like this. And maybe take this edge and bring it out just a bit like this. Alright, so now let's try that. Let's take these two faces here. And let's hit the seven key on the numpad. And let's just extrude this straight back like this. And then let's hit the S key and scale it in. Then let's bring it back here a bit. And in like this, It's just kind of in the back there. Then let's do a little bit of work to kind of curve that because these kind of looked like they curve out. To do that, I'm just going to press Control R and add an edge loop again. And once again kind of pull it out Control R. Pull this out, Control R here. So it just kind of bends out a bit like that. All right, then let's add a subdivision surface modifier and see if we can get these more rounded curves. I feel like it's a little bit thicker here. Let me tab back into Edit mode. Lets just grab this edge here and see if we can just pull this out. Will that work? Let me just grab this and pull this out. Yeah, that might just work. Let's see how it looks once we get a subdivision surface on there. Alright, let's select it and add modifier subdivision surface. Now of course, it looks terrible and that's to be expected. I'm going to smooth it. Then let's begin adding edge loops here to kind of tighten up the corners. So let me turn this off the cage off so we can see it a little bit better where the actual edges are. And let's just begin maybe right up here. Let's begin here and bring this forward. We get a tighter edge there. And then about here, Let's do that. Yeah, that looks a little bit better. Let's come down here and get this one right down here. That's not bad there. Feel like we could have something a little bit tighter in here. This yes. Could I think move out a little bit again? I had done that once before, but maybe I'll do it like this once again. Then up here, Let's add an edge loop right here and bring this in. Let's add an edge loop in the back here. Tighten that up a little bit. It feels like we could use an edge or have this edge up here come up just a bit. So what I'm gonna do is select this edge right here, and then Control click this edge right here. And that'll select the entire edge between them. And let's just pull it up just a little bit, give us a bit of that curve. Maybe moving out a bit and there we go. All right, I think that looks pretty good. Let's now take this and mirror it over to the other side. So I'll just move that origin over here to the 3D cursor. And then I'm going to use the mirror modifier on this one just so I can do a little adjusting if needed. So I'll come over here and add a mirror modifier. There we go. All right, let's begin cleaning this up and adding everything together. Let's see what kind of modifiers we have on these. So for the legs, we don't have anything that's good. Okay, what about the base here? We've got a mirror, so let's apply that for the seat cushion. We've got a mirror and a subdivision, so let's add the mirror or apply it, I should say. Let's also apply this. Let me turn off optimal, hit the Z key, go to wireframe and that's what it's going to look like. I think that's pretty good. Let's go ahead and apply this. Click apply there, and that makes that permanent, that polygon structure. Let's take a look at this seat back. Let's go ahead and apply that. If I take this down, Yeah, it gets a little blocky, so I'm gonna go ahead and apply that for the seat back here, the wood part. Let's go ahead and apply that. And for the arms, we've got subdivision and a mirror modifier. Let's take the mirror up on top first, and let's apply that. Then. Let's apply the subdivisions as well. Alright, so now let's select, I'll just select a leg and then hit the, a key to select everything else. And you can see how many pieces we have over here. Let's then combine this or join this all into one object with Control J. And now let's give it a name. I'll call this dining chair. Let's call it that. We go and then we can bring back the rest of the furniture. We can drag this into the furniture Collection. And let's just take this coffee table and move it to the side. Let's take this chair and scale it down and get it about the right height. Let's see what we think. There we go. We've got our dining chair. So I think for the next piece of furniture, Let's begin on that Chesterfield couch and chair set. That's coming up next. 18. 018 Beginning the Chesterfield Sofa: Now let's start working on that Chesterfield Sofa. Let's go to Image open over here and this one right here. Let's open this up. I'm going to press Control Spacebar. And I'm gonna say right up front that we are not going to go through and model every one of these little indented buttons here on the Chesterfield Sofa. We're going to let textures in Substance Painter do this. I happen to know they've got some very nice Chesterfield textures. So we're just going to use that. Which means here in Blender, we really only need to get this basic shape. We don't need to worry about all the little details of the wrinkles and the buttons, etc. So if we just press Control Spacebar and get that back to its proper size here, let's go ahead and hide these all o. And we don't think we need this plane zeros 01 anymore because that was the back of that dining chair just in case I messed up there. But let's just hit Delete. We don't need that. Aldehyde, the reference object and the furniture collection. And I'll choose the scene collection up there. And now let's create this bottom cube here and then extrude up for the arms and the back. So let's just press Shift a mesh cube and then I'll bring it up and press S and Z and scale that down a bit. Let's hit the one key on the numpad and bring this down to about where we think it is, something like that. And I'll press S and X and scale out. Let's just say it begins like this. That seems to be about right. Maybe I'll hit the S key and scale out just a bit. Yeah, so let's begin with this. Now as before, I will tab into edit mode and press Control R and lit drop an edge right down the center. I'll hit Enter two times, and then I'll press Alt Z, the three key, and let's just click and drag these faces on this side, hit Delete and delete faces. Then we can now come over to our Add Modifier drop-down menu and click mirror. Let's go ahead and turn on clipping and turn on cage here. Alright, so now that we've done that, here we are in edit mode and now we can just press Control R and add an edge loop back here where the back of the sofa will be. Let's press Control R and add an edge over here where we think the arms will be. I've left the back a little bit thicker than the arms because I think it leans back a bit. So let me show you what I mean. If we hit the three key and select these faces here, I'm going to hit the one key and let's go ahead and extrude these up. I'll hit E and pull these up. And the difficulty once again is we don't have the cushion in yet. So it's hard to know exactly how tall this should be. It's kinda hard to tell, but we're looking at it from right here, the top of that cube before the cushion begins. That may be about right. Let's go with that. Let's say then what we can do is these edges right up here. We can just push these back just a little bit like this to get that kind of leaning back there. Now to help us get a better sense of how tall this should be, maybe we should go ahead and just select this face here and duplicate it. Shift D Enter. And then I'm gonna hit the E key and just extrude up like that. Now, this is a separate object. So if we just hover over this, say hover over this edge and press the L key. Now we can see that that's a completely separate piece of the object, I should say. Yeah. Alright, so is that about right? Is that like that may be a little bit too tall. Let me bring it down a bit. Once again, we can readjust at any point in time. All right, so we've got that now. Let's see if we can get this kind of scrolled arm and I'm gonna do it in the same way we did before just with extrusions. I'm going to press Control R and bring this up to about here, let's say. Then I'll hit the three key and select these faces here, and let's extrude these out. So I'm just going to hit the E key here and then hit Enter. And then I'm gonna press S and X and scale out in the extra two a little bit to get these out. And then I'm going to deselect these Shift-click. And now I'm going to bring these out. So let's say it comes out about like that. And now I've got these pulled out so they're easier to select and I'm gonna bring these out like that. All right, let's see how we did there. That's pretty good. I think these can come out a little bit more like that. Maybe. It's hard to know how far out the back should be, but let's go ahead and just pull that out like that. Alright, so we've got that basic shape now. At this point, I think we should go ahead and add a subdivision surface modifier. Right here. And of course it is extremely ugly and that's fine. We expect that now. Let's press Control R and let's add an edge loop in here. Kind of tighten that up a bit. Let's also add an edge loop right here and bring this forward. Tighten that up. Now on the bottom, we could press Control R and bring this down. I don't want it to go all the way, but just kind of like that. We could add an edge loop right in here and kind of bring this up a bit. Tighten that up just a little bit down here as well. I think we could probably put one right in here. That's in the cushion. Well, that's fine. We'll need one there, but I wanted to do it out here. Here we go like that. Alright, so let's go ahead and do that with a cushion too. Let's add some edge loops to the cushion as well. So something like that. I already have one on the bottom. Let's add one here, up here on top. Let's tab into object mode and see how we're doing here. All right, I think we're getting there. We've still got some work to do. I feel like these edges down here could maybe come down a bit. Give us more of that scroll there. Be like these edges up here in the top could come up a bit to give us more of that rounded top. I forgot one right here. We go. Let's do this. Maybe a little bit more of a rounded top like that. Let's smooth it. I'll right-click and choose Shade Smooth. Maybe there's a little more we could do with the cushion here. Feel like we could add one right in here, Let's say like this one in here and pull it forward like that. Maybe pull this up like this. Maybe we need another one in here so we can take these edges and kind of pull these up a little bit like that. That we could also maybe take this and take it back a little bit. I just Alt clicked that edge loop to move it back some and maybe take this one down. It isn't quite so sharp on the front there. Maybe we could take these and bring these up. So this is a time and just kinda go through and try and find ways to get it a little bit more the way you want it. Maybe I'll select this whole thing with the L key and press S and Z and scale it up just a bit. We go something like that. Move it down a bit. Now I'll go ahead and turn on the cage for the subdivision surface modifier and that helps just a little bit there. I think we could maybe take an edge or add an edge writing here and tighten that up a bit. Let's add another level to our subdivisions. See how that works. Yeah, I feel like that cleans it up a little bit better. That's kind of nice. Now that we've done that, I feel like I want to work on this a little bit more. Take this edge up a little bit, I guess. Just try this curves that just a bit more. You can take different edges here and move them in or out to try and get that curve. Now one thing I would like to do is I happen to know that we're going to UV map this at some point and it looks like there's a scene that goes up along this corner. So I'm wondering if I can take an edge here and move this in so it's a little bit tighter in this corner. Notice that there's an edge here. If I Alt Shift click, there's an edge here. But they do not connect. And I think I'm gonna want that seam going right along there diagonally at some point when we UV map this for our texturing, what we can do is use the knife tool. We can try that and see if we can connect this. I'm going to hit the one key so we can see the vertices here. Now, the knife tool is over here, right in this toolbar, and you can see that the shortcut key is k. So let's just come over here, press the K key and our cursor changes to a knife. And let's just click here. Click here, pull that out, hit the Enter key, and that adds an edge that face there. And these are now triangles. And triangles aren't usually the greatest when we're using a subdivision surface modifier. It usually wants to see quads, four-sided polygons. But if we tap back into object mode, it doesn't really tear it up. It actually, I think looks okay. What that allows us to do is if we Alt click an edge right here and Alt Shift click, you can see that edge goes all the way around there. And that's, I think what we're going to want when we UV map this. Alright, so we've got the basic shape now in the next video, but let's do is create these panels upfront. And once again, I'm not going to create all the rivets. We're not gonna do that, but we're going to create this panel. And the panel on the front here at the bottom. And the feet that's coming up next. 19. 019 Finishing the Chesterfield Sofa: Now let's work on these panels in the same way we did with the chair. Let's just take these faces here, maybe beginning here and just go on up like this. And let's just duplicate these off and use these. I'll press Shift D and Enter. And then let's just bring these out some. And then let's split it off as its own object. Just because I think it'll be easier to work with. I hit the P key and separate by selection. Then if we tap into object mode and select it, we can now get rid of the mirror modifier. Let's do that. I will also turn off the subdivision surface view, the view port here just while we're getting it into shape, Let's hit the one key on the numpad and tab into edit mode. And now we can just kind of get this into shape. I don't know that we need all of these edges. So maybe if we take this and we could press Delete and dissolve edges, except there's one here. And I guess we can keep that. We could keep these around. Let's just see how that works. Then I'll select everything and hit the S key and scale down, press S and X and make it a little bit thinner. So I'm working on this part right here. I feel like we could make it like this a little bit thinner like that. And then I'll hit the one key to go to vertex mode. And I'll just drag select these and let's bring them up. Let's move these into place. So I'll hit the G key like this. Let's move these around and kinda get them so they're a little bit more where we think they should be. Maybe like that, Let's say. Once we've done that, let's turn the subdivision surface view back on here and let's take a look at it. Alright, now let's grab some points and try and move these around. Maybe we need another edge in here. Let's just press Control R and add one right in there. Just so we get this turn a little bit sharper. Maybe something like that. Then let's take this edge right down here. I'll hit the two key and select that edge and we can bring it down and tighten that up just a bit. All right, let's take a look at it. See what we think. How does that look? I think that's about what I was hoping for, something like that. Alright, with that done, then let's go back to Edge mode with the two key and alt, click and Alt Shift click all the way around here to select an edge all the way around. And then let's just hit E and y and pull it back just a bit like this. We could then take this and move it back into the sofa. Let's do that. I'll tab into edit mode, hit the a key, and let's just pull it back into here like that. What do we think here? Yeah, that's okay. I feel like I want an edge and therefore to be a little bit sharper, Let's do that. Press Control R. Let's just add an edge right in here, right there. Let's say. It's just a little bit sharper. Alright, so we've got that. Now, what about this front panel? Let's get that too. I guess we can mirror this over. Let's add a mirror modifier and just see how it looks there. Yeah, I think that's kinda what I'm hoping for. And then for that panel on the front, on the bottom, Let's just select this face and this face. Let's then duplicate it. Shift D, move it out in the y-axis just a bit. Let's separate it as its own object with the P key. And then let's select that object, just that new panel there. Let's turn off the views of the subdivision. Let's do that and then let's just get it into place. It looks like it's a little bit higher here. Maybe I'll scale in the Z a bit, bring that up some scale in the y. So it comes out to here. I'll hold the shift key down so it moves a little slower. There we go. Then let's tab into edit mode. Select the edge all the way around. And once again, let's just hit EY and push that back in like that. Hit the a key and bring it back into the sofa there. Maybe about like that. Now it's ugly. It's true. We could come over here and turn on the subdivision view again. Do we need to? I think we need to do a little bit of work here. So let's take this edge right here. Let's just pull it over to this side like this. And that really stretches that out a little too much. I'm going to press Alt Z and hit the one key. And let's bring this back in like this. There we go. Then let's add some edges in here. There we go. That's what we need. I'm just going to add this. Now. I'm doing this with the subdivisions just because I want kind of an edge, kind of a curved edge on this. And subdivisions are a great way to do that. Maybe I will scale this in the z just a little bit. S and Z, bring that out so it's right on the bottom. Yeah, I kinda like that actually. Ok. Then the last thing we need to do, let me bring this up just a little bit more like that. There we go. All right, So now what Let's do is, well, let's add the little feet here and it's really hard to know exactly what these are supposed to look like, but it just looks like a squished sphere to me. So let's just do that. Let's just squish a sphere. I'll press Shift a mesh and UV sphere. And let's type in 16 for the segments and maybe 12 for the rings. Let's bring it out. Bring it up here so we can kind of see it. If I hit the period key on the numpad to zoom in, Let's tab into edit mode and press Alt Z and go to face mode. And then I think what I'd like to do is just grab these up here and shift and click and grab these down here like this. Let me press Control and deselect those. There we go. So just select those faces on the top and the bottom and hit Delete and delete faces. And then let's scale it down quite a bit. Then let's bring it down. We'll just squish it. Maybe. I think the couch is a little bit too tall. Bring that whole thing down just a bit. I'm going to select it over here. The cube, cube one, cube two, that's all the couch here. So I'm going to bring it down a bit. Then let's select that foot. I'm going to scale it in just a little bit more. And then let's squish it in the z-axis. Smc, bring that down like that. Let's say, let's try that. How's that? Look, let's smooth it. Let's get it from the side view here. Let's move it back a bit like that. Move it up a bit. Maybe it could be squished a little bit more. Yeah, just get that in place there. Let's see how that works. Now let's move that back. Let's duplicate it. I'll hit the three key on the numpad to go to the side view, I feel like we need to bring this down just a little bit more. There we go. Then I'll select that foot shift D, and let's move it in the back. Now I'm just assuming that's the way it is in the back. We can't really see it. So we'll just have to assume that. Then we can take these and move them over to the other side. Shift dy, dx. And there we go and move it over here. All right. There we have the basic shape of the couch. Now for the chair, the Chesterfield chair, if we go to Image and open over here in the image editor, let me go to this view again. Control Spacebar. We've got these chairs, which is really pretty much the same thing, just smaller. In the next video, what Let's do is let's take this couch. We may need to combine some pieces here. But before we finalize it, Let's use this couch, duplicate it, and create one of those chairs. 20. 020 Creating the Chesterfield Chair: Well, as I mentioned, my thought is that we take this couch and we use it to create the chair. But I think we're going to have to combine a few things before we do that. So first of all, let's make sure we've got similar modifiers on each of the objects. So to combine objects, we really need the modifier stack to be similar. Here we've got a mirror and a subdivision. Here we've got a subdivision and a mirror. I'm just going to drag that mirror up on top. So we have that for the main part of the couch, we've got a mirror and a subdivision. So it looks like the three main pieces of the couch here have similar modifiers. So I think we can then take these and combine them. So I'm gonna select the panels, this front panel and the couch. And let's press Control J. And it looks like it did it pretty well. There aren't any really major problems here, so that's good. And this means that we can tab into edit mode and everything here is all in edit mode since it's part of the same object. Now let me just take this and change the name to sofa. And then let's duplicate this. I'll press Shift D and Enter. And now this sofa 001 is the chair. Alright, so now I'm gonna hide the four feet and the sofa. And here we have just the chair. Now if we tab into edit mode, go to the top view. Press Alt Z for X-ray. And I'm just going to click and drag these edges right here and move them in. Let's do that. Let's just move these in. You can see I'm just beginning to make the chair. There's a love seat. But you know what, I think we can probably get rid of this edge here. Let's Alt click this. And I think this is going to be too tight as it moves into the center. Let's press Delete and dissolve edges for that one. And then let's go back to the top view and let's try this again. I'll grab this. Let's move these in. Let's see how we're doing here. What do you think Is that about, right? Like it may still be a little bit too wide, but I think maybe we need to take a look at it in relation to the couch. So let's bring that back here. And maybe I'll take the sofa, couch and move it here. And that actually looks pretty good. I feel like it's still just a little bit too wide. So let's tab into edit mode. 21. 021 Beginning the Desk: Alright, let's think about what else we can make here. I'm gonna come over here to Image open, and let's take a look at our reference images. And there's all kinds of things we could do here. But I'm looking for another big kind of sizable piece of furniture. We've done. How about something like this, like the desk? There isn't I mean, we've got chairs and there's this table here and a coffee table here. That looks like really the only other kind of big, sizable piece of furniture. So let's work on this. Now this is an interesting thing. Let's press Control Spacebar and take a look at it. So the good thing is, is it's mirrored both in the x-axis and in the y. So we may not mirrored on the y, but things on this side are probably going to happen here. We don't really know what the back looks like. It isn't gonna have drawers, of course, but I guess it's going to have panels like this. These handles here. I don't think I really wanted to go into great detail with these things here. Let's maybe just create one of these. And then we can duplicate them for this and for the handles for the drawers down here. I don't want to deal with the key. I don't care about that. It also looks like there's a kind of a panel on the back here. This certainly looks doable. I mean, it is a symmetrical object and we're gonna be doing a lot of extrusion. Insets will create the top and the bottom here in very much the same way that we created the legs on the chairs. Yeah, I think this is this is good. Let's work on this one. I guess we don't need our furniture arrangement here. Let's go ahead and hide all of this. Once again, I liked that x-axis over here on the right side to begin with, just so I know which way I'm facing. So to begin with, I think what I'm gonna do is begin with this top cube. We've got a rectangle here. We've got just this top piece right here. Then we'll mirror that cube and then extrude down here for the drawers. So let's do that. I will press Shift a mesh cube. Let's bring this up. Let's scale it in the z here. Then let's scale it out in the x. Let me press sx. Let's move this out about like this. And maybe bring it up about like that. Once again, will be adjusting this as we go. But I'm just trying to get that basic shape there if you'd like, maybe it's a little bit longer. Tumble around. I feel like it's a little bit wider in the y here, something like that, Let's say. Then I'll tab into edit mode and press Control R and drop an edge right down the center here, I'll hit the Enter key twice. I'll press Alt Z and the three key to go to face mode. And let's delete 1.5 here, delete faces. And then we can add our mirror modifier here. Let's turn on clipping. I'll go ahead and turn on the cage here. Now, let's add an edge to define where this drawer section is going to be extruded down. So let's press Control R and maybe, maybe about like that. Then let's just hit the three key, select that face. And then let's just hit E and pull this down. And I'm not going to pull it all the way down. I'm gonna give it some room. So we have a little bit of room to do this right here. So maybe something like about here, let's say, alright, I think let's go ahead and begin with the top. I'll select these two and I just want to get this right here. I'm not so concerned about this piece right here that'll come but this right up here. Now I'll just hit E and S and let's scale out a bit like this. It looks pretty even here, That's good. That may be a little bit too much. Let me scale in just a bit more like that. All right, Then let's get this little, I'm not gonna do all the little curves here, but let's just hit E and pull up and get this right here. Then let's inset into this. So I'll hit I and let's pull in some and is that even it's really not even there, is it. So I think we may have an issue with our scale. Let's press Control Z and go back. What I'm gonna do is tab back into object mode and take a look at the scale over here. You can see because we pulled that original cube in the x and y, we've got non-uniform values in the scale. So to help our insects be a little more uniform, Let's apply the scale here. In object mode, I'm going to press Control a and apply the scale. When we do that, we get all 1s, which means this now is the default scale of this object. I'm going to tab back into edit mode and then let's try that again. Let's hit I and NSAID in and now look how even the borders are and that's good, that's what we want. But look in the center there, we have a border in the center. And if you look up at the top, you can see border or the B key is on. So we want to turn that off. I'll hit the B key there. And now that closes off that border in the center. And let's maybe get this about right here, Let's say, alright, and then I'm just going to extrude up one or two times. I'll hit E and pull up just a little. Then let's instead again, pull that in. Then let's hit E and pull up just a bit again like that. All right. Let's take a look at that. Yeah, I think that's pretty good. That's kinda what I wanted. Now. I'm not going to get, or I'm not going to do these curves here on the corner until we have just about everything in. Because I went to preserve quads throughout this or four-sided polygons throughout this entire object to make sure that we can insert edge loops all the way around. And sometimes when we bevel an object or an edge or corner, we can get in guns or polygons with more than four sides. And sometimes that can be a problem that really only affects the top and bottom of the edge. But just in case I'm gonna wait on that, I'm gonna wait on those devils until near the end to get It's curves on the corners. All right, so now let's think about the drawers here. We've got this ridge right along here. Let's see if we can add something for that. I'll tab into edit mode and press Control R. And let's just add an edge right along in here, something like in there. And then let's go to face mode, alt click between two of the faces and let's extrude this out. I'm just going to hit E and S, and let's just scale this out just a bit like that. How did we do? On all sides? It looks like it came out in a uniform way. That's good. We've got that now that piece there. How about down here? Let's work on the bottom. Let's zoom in here. And let's work on this. If we tab into edit mode and hit that three key and select that face on the bottom. Let's go to the front view and let's just kind of rough in this. Let's get this ridge right here. I'll hit ES and let's scale out. And then E and pull down. Then ENS, and let's scale in just a bit. There we go. Now let's come down and kind of at an angle here, pull straight down and then let's scale out just a bit. It looks like I shouldn't go down a little bit farther like that, right? Let's try that. Then. We've got this ridge here. It looks like there's a small one and then a big one. So let's go ahead and try and get those in here. Es bringing it out some and then extrude down. And then let's do that again. E and S and bring it out. I think I'm going to pull it down just a smidge. Scale it out a little more maybe. And then let's just bring this straight down. I know there are curves there, but I'm not going to get that detailed with this at the bottom of the desk here. I'll hit E S, and let's scale in a bit. Then let's just pull this straight down like that. All right. So we've got the bottom of the desk there. I feel like it could feel like this whole piece could come up just a bit. So let's go to x-ray view with Alt Z. I'll hit the one key and let's just drag these straight up. Let me just move these up like this. There we go. We've got the basic shape of the desk now, in the next video, Let's begin working on the drawers and the panels here on the side. 22. 022 Adding the Drawers to the Desk: Now let's work on the drawers of this desk. It looks like we could insert an edge loop up here near the top. The drawers, it looks like come right down to this ridge right there. So that's It's fine. All right. Let's go ahead and add an edge loop up there. Maybe right about in here, Let's say maybe about like that. Then let's take a look at the sides here. So it looks like it's fairly close to the inside. But on the outside we're going to need to leave some room for that rounded part there for the bevel. Let's go ahead and add an edge loop right in here, pretty close to the side. And then let's also add one out here. That's going to give it some breathing room on that curve there, something like that. Now in addition, we need these three drawers. So these three drawers are really bounded by six edges, aren't they got 123456. So we can add six edges here. We could press Control R and scroll the mouse wheel. And if we look way down on the very bottom of the Blender interface, you can see number of cuts there. And let's take it to six by scrolling the mouse wheel and then hit Enter two times. Then what I'll do is I'll scale them into Z sc and I want to pull them back so that top edge and the bottom edge or in about the right place. So maybe let's take him to about here. I'm looking at this part and this part in relation to here and here. Okay, So now what we need to do is take these edges here and here, and here and here, and scale them into z. So there the appropriate width between the drawers. The problem is, is if we scaled in the z currently they would all just collapse together. And now we do have a pivot point option here called individual origins. And if we choose that and try S and Z, we really don't get anything. Blender is just trying to scale each individual edge and it isn't getting very far. With individual origins selected, what we could do is hit the three key to go to face mode and Alt click between two faces here and then Alt Shift click between two there. Now, even though the center of this selection is here, since we have individual origins selected, it will scale each one of these individually. If we press S and Z, we begin scaling that down and you can see those go down together. And the nice thing about it is they're exactly the same size. If we take it down to say about here. Now we've got drawers pretty much the same size. All right, so now for the actual drawers, What do we have here? It looks like we've got extrusions out and then n sets in. So we could do a couple of DES. But because of the individual origins item here, we don't have to do them one at a time. We can do them all at once. So let's just select everything that should be a drawer. All of these analysts just then begin extruding in just a bit and then come back out and try and get something that looks kind of like this trim around each of the drawers. First of all, let's actually extrude in to get this little edge all the way around. So let's just hit E and push in just the tiniest bit. Then let's inset this by pressing the I key, and then let's insert this, but look at the center drawer Once again, we've got that border on, so let's hit the B key to close that off. Now I'm going to bring it back out, something about what it really tiny. So I'm gonna hold the Shift key down and go to about right there. So I really made it pretty, pretty small. Now I'm going to extrude back out. I'll hit E and pull out. I'm gonna hold that shift key down. I'm gonna pull it out just a bit like that. It's coming out from the main desk just a bit. Now let's begin getting this stuff in here. And I don't know that we need to do every single little groove, but we can kind of hint at it. We can hit the I key and go in just a bit like this. And then let's hit E and push in. And then we can press I and bring it in a little bit more and then press E and go in. And maybe let's do one more I in just a bit. Then let's press E and push in just the tiniest amount. There we go. All right, so we've got the basic outline of the drawers there now that's pretty good. Let's do that same thing for the side panels and for what I imagined or the back panels too. We don't really know for sure, but I imagine that we've got something similar to this on the back. So let's do that. Let's. A tab into edit mode again, and we should first of all add edge loops to reserve space for that bevel on the corners. So I'll press Control R and let's bring this up about right here. Then back here we've got an edge right here. So let's do one fairly similar to this right here like that. Now we've got that kind of blocked off here. These are a little bit different. We're probably going to have to do all of them and then de-select everything but these side panels to get this little extra piece here. So let's first select this face and then we'll select, well, it looks like we should go ahead and select all of this right down, all the way down to the bottom here. And then this one and all of these. Then we should probably select this as well. Let's just try and do this all at once using that individual origins, which is going to allow every single one of these to extrude an NSAID in the same way. Now, let's first of all inset in just a tiny bit and then we'll come back out. So I'm gonna hit the I key. Come in just a little bit like this. And we doing on the boundary here. Yeah, that's good. Okay, that's still closed up. Now let's bring it out. I'll hit E and bring it out a bit, something like that. Let's get a couple of ridges here. So let's hit, I, bring it in. Ie, go in. I said in just a little bit. Push that in a bit. Let's try that. I feel like we could use one more. Let's try it. I'm gonna hit I and go in just a tiny little bit again. And then E and push in just a bit there. Okay, so let's see how we're doing here. Alright, I think that's pretty good. It's kind of hard to see with this particular shading in the viewport. So at least for now, what Let's do is come up here and pull this viewport shading menu down. And let's turn on cavity. That just gives us a little bit of information along the edges. Well, let's see what else we can do here. Let's try turning on shadow as well. Helps a little bit just so we can see those edges just a little bit better as we're doing this. So I think those are okay for now. For the top. For the bottom, I'd like to add that extra panel and I think that's gonna happen for these back here as well. Question mark. Not sure. Should we add this back here as well as here? Sure. Why not? Let's go ahead and do it. How is anyone gonna prove us wrong? We can't see the back of it. So let's select all of these. Then while it's do from here is hit, I am inset in quite a bit like this. We can't go too far, can we? Because we're going to cross that line there. So instead of doing this, I'm going to press Control Z. Then perhaps list, insert two edge loops here. Then if we scan out in the y, we can see we can't really do much because we've got individual origins still on. Let's go back to median point. And I'll hit S and Y. And let's scale these out to about here. I'm just doing it so they're pretty much even with this here. Then let's also do that here. What's that going to do? That's going to insert two edge loops through the drawers. That shouldn't be a problem. I don't think Let's go ahead and try that. Or if we don't want to, we don't have to write. I just said no one can prove us wrong. So let's just do that on the side here. Let's just do it on the sides and then we won't get into any trouble by trying to add any more edge loops through the drawers here. With this, now, I'm going to hit the I key and bring this in and we don't get into that problem until we go away and like that. So that's good. So maybe right about in like this. And then I'll hit the I key again and let's take it in just a little bit like this. Then what I'll do is Alt click between two of these faces here to select. Then let's just extrude this out. Let's just hit E and pull that out just a bit like that. Now what Let's do is let's work on the bevels on each corner. We've pretty much got all of the detail in. Now it's time for this here. I will tab into edit mode and let's go to edge mode and alt click this edge right here. We'll Alt Shift click this edge here. Now let's bevel this. Let's press Control B and pull out. Let's scroll the mouse wheel a bit, add some edges to that. And let's click and see how that works. Oh, we better turn off cavity here. Let's turn this off. There we go. Then let's smooth it and see how it looks. I will select it and right-click and shade smooth. And of course that looks awful. Let's turn on auto smooth and that looks quite a bit better. Now, we've got sent to oh, that's because of the shadow is turn off. Shadow. There. There we go. Alright, so now we've got the basics of the desk. In the next video, what lists do is work on the drawer poles. And then also this panel on the back here. 23. 023 Finishing the Desk: Let's now close off the back. We've got this piece right here. I think it's just, I think we can just put a cube basically in the back here. Let's press Shift a mesh cube and then I'll go to the back view. So instead of one for the front view list press Control one for the back orthographic view here. And I'm just going to pull this up and get it the right size. Maybe I will tab into edit mode, press Alt Z and hit the one key. And I'll drag select these here. Bring them up about like that. At the a key scale out in the x-axis with S and X. Maybe bring this up a little bit. Just get that in place there and then we can scale it in the y. Bring that in a little bit like this. And then let's bring it out. Maybe about like that. Let's see what that looks like. Yeah, maybe it's something like that. And then we could take that and duplicate it and create these pieces. So I'm going to first move this origin back into the center of the geometry. Come up here to object set origin, origin to geometry. Then let's press shift D. Pull this out a bit. Let's scale it in the x. And then we can just maybe move it straight over here to the side. I'm gonna hit the period key on the numpad to zoom in. And we just need to pull it back a little bit. On this side. Let's see. Maybe right about there like that. Then we can just take this move that origin to 3D cursor. And then we could duplicate it by pressing Shift D, inter Control M, the X key, and enter. Now we've got those pieces in for the drawer poles. As I said, I think I'm just going to create one of these and then duplicate it for all of the others. I'm not going to worry about this kind of thing here. Let's just hide everything. First of all, let's begin with a cylinder shift day mesh cylinder. I'll take the number of vertices or sides down to 16. I'll go ahead and leave in guns on the top and the bottom. Hit the one key, and I'll scale down a bit. Let's bring this up. And what I'm gonna do is just kind of go from there back forward. So begin back here and then try and get something that looks kind of like that. It's really not possible to know exactly how that looks back behind there, but we can kind of give it a try. I'll hit the I key and scale in just a bit. Then let's do that again. I'll hit E and bring that up. And then I come in a little bit more. I'll hit E and come up like that. Then let's get this part here. Let's say we press E and then S like that, and then E and S out like this. Then let's just go straight up. Maybe a couple of ridges in here. We could press E and then S, then he, s and E. Maybe let's do one more like this. So now that we've done that, now that we've added these edges, what we could do is just add a few other edges, like maybe one right in here. And then we could just scale that in kind of like that. And that gives us that edge like this here we could take in like this and then scale. And that gives us that. Maybe we want two more in here. Let me put two more here. Maybe I'll take this one and scale it out like this. Then let's take this one and maybe just bring it up. And then just scale it in like this. So we get a couple of edges there. Now we could give a little bit of an edge right here if we press Control B and just kind of expand that in like that. Now that we've got that, it looks like this is a little bit too long, so I'll press Alt Z to go to x-ray mode and kind of bring that down just a bit like that. Alright, so we've got that now. Let's move that origin into the 3D cursor there. Set origin, origin to 3D cursor. Then let's bring everything else back. I'll just turn on the eye icons over here. Now let's begin to get this in place. So if we pull this out, maybe turn it in the x-axis, our x 90, and hit Enter. And then let's go to the front view. For this, I'll just press the Z key and go to wireframe. And then let's bring this up. Kind of get it in the center here and scale it down until we think it's about the right size. Let me zoom out over here and just kind of get a sense of how this should look. I'll press Z and go to Solid mode again. And then let's take this and just drag it straight into here, the period key on the numpad to zoom in. And let's just bring it right into here now. Is that about right? All right. I think that's pretty good. Malleolus do is try and get these in the center of each of the drawers. And to do that, we can use our 3D cursor. So for this one here, Let's hit the three key. Go to face mode and select this face here. And our move manipulator is right there so we can snap the cursor, the 3D cursor to that point by pressing Shift S2. Now that that cursor is there, I can tap back into object mode, select that object, and then we can press Shift S and the eight key and snap that object, that selection to the 3D cursor. Now that's right in the center there. Let's do that again. Let's select this face over here, shift S2. Then let's select this, duplicate it and snap it over to here. But first I think I'm going to smooth it before we begin duplicating it. Let's smooth it. I'll go to the object data properties. Turn on auto smooth. If we drag this up a bit. That's kind of nice there, but I feel like I want those edges to be a little bit stronger. A little bit more prominent there. What if we just grabbed these edges? Alt click here and Alt Shift click here. And let's make these sharp. To do that, we can go to our edges menu here, or of course we can press Control E. We can come down here and choose mark sharp. And when we do that just says to Blender for these edges, ignore any smoothing. And what that does is it just gives us a little bit more definition on those drawer poles there. Let's try that. All right, so now that we've done that, got it the way we want it, Let's begin duplicating it for the others. So for this, let's press Shift and Enter. And then let's press Shift S and choose selection to cursor or the eight key. There we go. Now we can do that again. We can take this face here, press Shift S2, grab this Shift and Enter, and then Shift S and the eight key. Alright, so let's do that again. Here. Shift S2, select this shift D, Enter Shift S eight. There we go. Select this shift S2, tab back into object mode. Select this shift D, Enter Shift S eight. And there we go. Shift S1 to put that cursor back in the center of the grid. And there we go. Now we've got our drawer pulls on one side and recall that the desk object has a mirror modifier on it. So if we selected all of these and added these objects to the desk, object shift select the desk. Now if we press Control J, they get mirrored over to the other side. And there we go. Now to get this all into one piece, Let's go ahead and apply that mirror modifier here. Pull down over here and click Apply. Now we can take these three pieces, this, this and this. We can add it to the desk, select the desk Control J. And there we go. Now, let's take this and move the origin to 3D cursor in the center of the grid. This then change the name here in the outliner. Then let's bring back everything else and see how we're doing here. Well, once again, a little too big, of course, that's fine. So now what let's do this, Let's scale it down till it's about the right size. It's kind of hard to tell. What let's do here. I'm going to take this and I'm gonna spin it around with RZ 1 eighth 0. Then I'll take one of these chairs just as a test, just press shift D and let's move it over here. And then I'll press R9 0. Whoop, wrong way. Hit the Minus key and it'll spin back the other way and then press enter. Now let's see what we have here. I'm gonna move it over a bit. Let's see, Is this about the right size? Now it feels like the desk is just a little bit too big here for the chair. Let's scale it down a bit. Well, that slide under yeah, that will scale it down a little bit more. There you go. Now let's bring the character overrule it, see how big he is here. What do you think there's that about how tall a desk would be? Yeah, that's pretty good, I think. Alright. Let me hide that character again. So here is our collection of furniture so far. Well, let me drag the desk into the collection for the furniture. Yeah, we're getting there. I don't think I like this particular chair for the desk. So in the next video, Let's start working on an office chair for the desk. 24. 024 Beginning the Desk Chair: Now let's work on the office chair or the desk chair. And I've got one I've got a couple here. I've got this one. I've got this one. Since we've already done or going to have some sort of a Chesterfield pattern on the chair. And so far Let's work on this one here. Open that up and let's take a look at it Control Spacebar. And one of the things that I realized is that this is just gonna be pushed up to the desk for really not going to see the front of the chair. It's really going to be more the top and the back that will see the sides, I guess, but the front really isn't going to be that visible. So I don't know that I'm gonna work too hard to get this kind of scrolled feature here. But I think we can begin in a similar way with a cube on the bottom and then extrude up for the arms and the back. But I think in addition to putting a cushion here on the seat, I'd like to put a cushion here and even one up here. Let's give this a try Control Spacebar again. Let's hide our furniture. I'll spin around so the x-axis is on the right. Once again, just what I do. You don't have to, but that's just what I do. I'm going to press Shift a and go to Mesh cube. Let's maybe scale it down a bit, scaling the Z. And I want to get this bottom piece right here, this kind of thin part right there. So let me hit the one key on the numpad and maybe bring it down. Once again, we'll be continuing to adjust this as we go. But let's just begin with something like this. Maybe it should be a little bit wider like that to give room for the arms here. Maybe a little bit deeper for the back of the chair. And let's give it a little bit of room for that. Now let's go ahead and add an edge down the center with Control R. And I'll hit the Enter key two times to make sure it's straight down the center. I'll press Alt Z and hit the three key to go to face mode. And I'll click and drag, delete this side, delete faces, and then let's add a mirror modifier to it. Turn on clipping, and let's turn on our cage here. Alright, z. Here we go. First of all, let's add an edge to define the arms of the chair. And they're actually pretty thin. And then it kind of scrolls out like this. So maybe something like that. Then the back of the chair, I'll press Control R and let's put one back here. It's actually looks a little bit thicker, but it's part of that is that cushion there that's kind of at an angle. Alright, so let's go with this and let's hit the three key and select these faces here. Let's hit E and pull up. So maybe that's about the height of the seat cushion. And then we go up a little bit more than that. And then there we go, maybe something like that. Now once again, I'm looking at this and I feel like it needs to be a little bit wider. So I'll do that. And then let's extend on up. For the back of the chair, I'll hit the three key to go to the side view, hit E. Let's pull this up. And we want it to be difficult to say yet, but let's begin right here and then I'll pull this back like this. And then I will go to x-ray view and kind of pull these back as well, something like that. And these as well, Let's pull these bank just to get things kind of inline. Actually, instead of pulling these back, why don't we take this and move these forward? There we go. That gives us a nice line there. I think that's looking pretty good. I feel like the top still needs to be a little bit taller. I'll hit the G key and move this up just a little bit more. Let's take a look. Yeah, I think that's getting there. Okay, so then let's take this face right here. And once again, let's press shift D and Z, and I'll bring it up just a bit. And then let's extrude it, hit E and pull up to get that basic shape for the cushion. And then let's just begin adding some edge loops here. I think we will need one right in here for that scroll work here. And I think it looks like it doesn't go all the way back. So I'll just use this face here to extrude out in the x-axis, something like that. In addition, we've got this little curve right here along the side on the top right here. Maybe let's add an edge loop in here. And then let's take this edge right here or this face, I should say. And let's just extrude this out like this. And then I will just grab some edges here that's like an edge on the top. Just go to the side view, hit the G key and move this down. And let's grab this edge as well. Hit the G key and maybe move this up just a bit like that. We're just beginning that general shape there on the sides. And we'll then add a pillow there here pretty soon. All right. I think before we add a subdivision surface modifier, I'll just bring this down just a little bit like this. I think let's go ahead and add that subdivision surface modifier and see how ugly it's going to get. Come over here, modifier, subdivision surface. I'm going to turn on the cage. I'm gonna keep it at one for now. Let's see if we can do this with subdivision level one. I will smooth it. Let's begin just adding some edge loops here. Let's bring this forward here like this. Now I want to try and remember that this kind of goes in here, but I don't think I want to do that quite yet. Let's add an edge loop back here to kind of tighten this up. We can add one in here. We can add one vertically here. So I'm just trying to add all the edges to get this to tighten up a little bit more here. We can add an edge down here. And one down here. We could maybe add one right in here. We go. Up in here. It looks like these things could stand to have at least one edge through them. Let's try that like this. All right, I think that helps. Then while we're here, we could take this edge maybe and just pull it up a little bit to start that roundedness of the arm there. So maybe I'll grab these three edges to and pull these up a bit. Maybe take these three, I'll select one and press Control and click to select everything in between there and maybe bring that down a bit. See, yeah, we could maybe bring that there. And these three here, just go to the front view and hit the G key and find where we can get that a little bit more rounded there. And then let's take an edge and bring this up into here like that. Alright, so we're just getting that basic shape there. Feel like we could bring this one of these up a little bit more. Or actually maybe we could take these three bases and pull up a bit like that. Let's try that. Then of course our pillow, we need to do a little bit of work on that. Let's add some edges here. Maybe one back here, that we could take it with the L key. We could hover over it and press the L key and press S and T, scale it up a bit. We could maybe even take this whole thing, kind of pull it out like this. We could scale it in the y SY, bring it out like that. Just so we're getting a little bit more volume to that cushion there. Feel like maybe we should bring these out just a little bit more. We go. Let's also add an edge back in here like this to kind of give it a little bit more of a corner here on the back, maybe something like this. Alright, so now what we can do is begin using some faces on this to bring out these cushions. So first of all, I'll just maybe select these faces in here and maybe around here like this. And let's duplicate these shift D Enter. And maybe I'll hit the S key and scale them up just a little bit like that. Move them forward to smudge. And then let's split this out as its own object just so we can work with it a little bit easier. I'll hit the P key and separate by selection. Tab back into object mode. And let's select that and tap back into edit mode. Alright, so now we take this edge. You could begin kind of moving this back like this. And maybe this edge here, we could begin moving it back. So we're just getting some edges in here to kind of create this shape. Let's add an edge loop writing here. Maybe bring that out as smudge, and let's bring this one up. It looks like it ends right about here, right in here. Now that we've got that, maybe I should add one more edge in here. Let's try this just so we have a little bit more to work with. All right, So there we go. Now, let's take this whole thing. And instead of adding thickness using the extrude tool, Let's add some thickness with the solidify modifier. So over here in the modifiers panel, we can click this and choose solidify. Now I'm gonna take this and drag it up above the subdivisions currently like that. Then if we click and drag in the thickness field here, let me move this over here. We can click and drag and that thickness field and we're going in now let's bring it back out like this and we can kind of bring it out like that. Now we can also click even thickness here, but that really doesn't give us the kind of even thickness we'd want on this. And I think the problem is the scale. Let's tab back into object mode and take a look at the scale, and sure enough it is non-uniform. So to apply the scale, Let's press Control a and apply the scale. Now it's all ones. And now that thickness is a whole lot better there. Yeah, that's, that's the kind of thing we want here. Now let's tap back into edit mode. We can bring this whole thing down a bit. We can bring the thickness in just a bit if we want something like that, maybe I'll move this it forward. Now we've got a bit of thickness here that we can use to shape that cushion a little bit better. I'm going to scale this in the y SY to kind of flatten it up just a bit. We go maybe move it back a little bit. Now before we begin trying to move edges around, we're going to need to apply the solidify modifier. But there are a couple of considerations that we need to deal with. One is this mirror modifier on the top of the stack. In the next video, we will talk about that and what we need to do before we apply the modifier underneath it. 25. 025 Creating the Cushions of the Desk Chair: Now we've talked a bit about the modifier stack and how the order of modifiers can change the effect that they have. So if I took this solidify and drag it up above the mirror, you can see something happening here and we come in here. What's happening is there is a face right in here. There is a face being created right in the middle here. I don't know if you can see that. You can see the little dots right here. And if I take that solidifying and drag it down, it goes away. So we really don't want faces on the interior of our models like that. So how do we avoid doing that? Because if I just applied this solidify here, it would create that interior face because it's below the mirror modifier. What we really need to do is apply the mirror before we apply the solidify. So let's go ahead and do that. Keeping in mind that if we want the mirror back on it, we're gonna have to delete half and then reapply it. Alright, so let's come over here and click Apply. And we can't do this because we're in edit mode as the error says here, Let's Come over here, tab into object mode. And now let's come over here and apply the mirror. There we go. Now if we tap back into edit mode and go to Alt Z, we can see we do not have those interior faces and that's good. Now we can apply our solidify, but once again, I need to be in object mode. So let's come over here and apply the solidify modifier. Now, this is all one object. This is all polygons. Now, we can come in here and begin selecting edges and adjusting this as we need to. Now if we feel like we need to be able to modify one side and have the other side mirrored over. We can do that. However, we still need to delete 1.5 delete faces, and then add a mirror here. And there we go. We can turn on our cage here. And we probably need to move this mirror up to the top of the stack because it's mirroring our subdivisions. You can see that here, how the dots are doubled up. Let's move the mirror up to the top. And there we go. Now that cleaned it up. Just another reminder to keep an eye on what is happening to your mesh regarding the order of modifiers in the modifier stack. Alright, so let's go back now. We can of course select one side and the other side comes along. So I could select, say, a face here and do a little bit of adjusting and maybe here as well. So you can see now we can go through and begin getting the shape that we want. I think back here, I will take these faces here and kind of move these in a bit. Then take these edges here and move these in a bit like this. Just so it kind of goes into the back of little smoother. I think I would like to take these edges and move them back, something like that. There we go. Yeah. Just so it kind of curls around like that. Maybe I'll take this and scale it out in the x Sx, bring it out just a bit. There we go. Now we've got that top part for the middle cushion here. Let's pretty much do the same thing. Let's go in and let's select faces, then give it a solidify modifier, do some adjusting, etc. So let's press shift D and Y and I'll pull it out some list then split it off as its own object, the P key and separate by selection tab into object mode and just select that new object. Now let's move these edges around till we get it about the way we went. I'm going to hit G2 times and that will slide that edge along the other edges there. Alt click here and G2 times and slide that edge. Let's see what we got here. Yeah, that looks pretty good. Now for this, I could just hit Extrude and pull it out. The reason why I use the solidify modifier for this on top was because it was curved. And trying to extrude that in all directions can be a little tricky. I just used the solidify so that it would expand inline or conform to the existing shape. For this, I can just hit Extrude. Let's just do that, hit E and pull out like that. Now we can select the whole thing. Let's tilt it a bit in the x, r x like that. And let's bring it back in some like that. Now, we can do a little work here, kind of making this look more like we want. So let's take, say these edges here and I'll pull them out just a bit. Maybe I'll take this and hit G2 times and slide it down. It like that. Maybe I'll do that here G2 times and slide it up. Then these two, Let's just bring out like that kinda tightened the sides a bit. Let's take a look at it. Yeah, I think we're getting there. Let me bring it back a little bit. Maybe bring it down some. Alright, so I think I want to try and pull these in just a little bit. Let's see if we can make this work. I'm not sure that we can. I will take these faces and maybe these faces here. And let's see if we can just drag them back. Let's try this. Something like that. Okay, Then if I added another edge maybe down here and pull that up. Let's see what we think here. Getting a little tight in there, isn't it? Let's undo this and try one right in here. Alright. Then we could maybe take these edges here and pull them back a bit, pull them down some, maybe like this. Let's see what that does to it. Let's take these faces all the way around and I'm just going to bring them up like that. That might actually work if we put a little panel right in here like we've done before with these kinds of things here. That might work. Alright? Once again, it's going to be pushed up to the desk, so I'm not even sure that we need that. But I think what Let's do is in the next video, let's work on the legs of the chair where we're gonna have some fun with our individual origins and 3D cursor pivot point here as we extrude these out from a center post. So let's work on that. Coming up next. 26. 026 Modeling the Legs of the Desk Chair: All right, Let's start working on the legs of the chair. Now, I'm not gonna do all of the little mechanisms underneath here that I don't think is really necessary. All I'm gonna do is just this center post here. And then let's also extrude out to get the legs. So what let's do first is just begin with a cylinder. Shift, a mesh cylinder. For the number of sides, I would usually default to something like 16. However, this has five legs. What we should really probably do is make the number of sides here divisible by five. I'm gonna change this from 16 to 15. Then I'm also going to take away the cat fills. So I'm gonna choose nothing for the cat fills, so we have no polygons on the top or the bottom. All right, so I think that's pretty good. Let's take that and scale it down quite a bit. I'm gonna hit the one key on the numpad to go to the front view and then I'll scale in the z. Let's bring this up and get it where we think it needs to be. So let's just say that's about what we want. I think maybe I wanted a little bit thicker than that. To do that I'll press the S key and then press Shift Z, turn off the z-axis and then scale out just a little bit like that. Alright, let's go with that for now. And then what I'm gonna do is press Control R and add an edge loop in here and maybe something about like that and this piece right here that the legs are coming out of, That's what I want to get. So what I'll do is I'll press Alt, click between two of the faces, and then press Shift D and enter. Then once again we can press Shift Z and scale out just a bit like that. Maybe I'll pull it up a smidge and then let's split it out as its own object. I'll press the P key and separate by selection, tab back into object mode. And there it is. Now, I also want to add a little bit of a top and a bottom here. So I'm just going to select these two edges and I'm going to extrude them in S, Shift Z. And now extrude them in like that just to get some sort of closure there between the two. All right, with this, now, let's use this to extrude these legs out. So since we've got five legs, Let's choose two faces, each around here with one face in between. And that should give us even. Yeah, there we go. So we've got five selections with one face in-between each. So that's going to work good. Okay, The next thing I need to do is move this 3D cursor. Because what we're gonna do is we're going to extrude out using individual origins. And then we're going to scale down for this curve and up for this curve using 3D cursor. And recall that if we hit the period key, we can get to this menu. Now, I'll be going back and forth between period and the two key individual origins. And then period. And the six key or 3D cursor will be going back and forth between these two. So first of all, I'm going to select this edge on the bottom. And let's bring the 3D cursor to their width shift S2. Now we've got it lined up exactly on the bottom edge. Then let's go back and re-select our faces now that we know we have them the way we need them. So let's do that. We've got five selections, five individual groupings with one face in-between. So let's under our pivot menu switch to individual origins. So let's hit the period key and then the two key. Now we're going to extrude out. I'll hit E. And notice that it's going in each of those directions. And if I move the mouse out a bit like this, Let's come out to about right here. Let's say I'm going right to that point right there. Then let's hit E again and pull out a bit. Then this time I want to scale down to get this kind of a curve here. So to scale down, I want to switch to scaling from the 3D cursor, period and the six key. Now I can press S and scale down like this. Okay, there we go now. And look at what I did. I didn't switch back to individual origins, so let's hit escape and then Control Z to go back. Now let's go back to our individual origins period. And the two key now, E. And let's push out like this. I want to bring it up now, so I hit period. And the six key, we bring it up. Period. The two key for individual origins hit Extrude. Pull out a bit. This time I just want to curve it down just a little bit. Because I don't want to bring it out too much farther than that. Once again, period, 3D cursor or the six key. And let's bring it down like this. There we go. That's what I mean by using both the individual origins and the 3D cursor to create that. Now I feel like the whole thing is a little bit too low here, so maybe I'll select the chair. Well, what we can do is we can press Alt Z and then I'm going to drag select everything down here, and then press Control I to invert the selection. You can come over here and see that here, control I under the Select menu. And let's just bring it up a little bit like this. We go and maybe I'll actually bring these up a tad as well. There we go. Alright, let's take a look at it now. Yeah, we're getting there. Okay. Now what Let's do is I'm gonna take this and I'll smooth it. That looks fine. Now let's take this and I'm going to use the subdivision surface modifier to get these smoother curve. So let's come over here, add modifier, subdivision surface. I'll turn on the cage and right-click and smooth. Okay, so now we've got some work to do to make it look a little bit more like this. First of all, let's add an edge right down here on the bottom and take this down. Now, notice that it conforms to the edge that we're bringing it down toward. If we bring it up here, it conforms to the shape of that edge. And as we bring it down, it begins to conform to the flat edge on the bottom, but it never really fully gets flat. What we can do is we can turn on even the even tool and flip it back and forth between curved and flat. And if you look up at the top left-hand corner of the user interface, you can see once again, we've got a tool called even or E, and it's off. If I hit the E key. Now it will turn on the even function. And then we've got the F key that we can flip it on or off. I'm just hitting the F key. So I'm going to flip it so it's flat and bring it down here, around right there, so we get more of a flat edge on the bottom there. Now also, I'm gonna do that on the top. But this time I wanted to keep that curved or keep that shape there, so something like that. Then I could also, if we really needed to add edges in each one of these here. Let's see what happens. If I go like this. That gives it a little bit more of an edge there. What we could also try instead of that, let me press Control Z here. We could also try to bevel this center edge into two. If I hit the two key and press Alt and click that center edge. Now we could press Control B, bevel that out. That becomes our edges to hold the corners there like that. Yeah, that looks pretty good. So let's just do that. Let's select the edge Control B and move these out. And in fact, what we could do is we could do them all at the same time so that we pull them out in the same amount for each of the legs. So let's do that. Let's press Alt Shift, click, Alt Shift, click this, and this, and this. And then let's just do them all at the same time. Control B, pull out and let's bring them out to about right there. So now they're all uniform in the way we've done that. Feel like I'd like to pull these down a little bit. So let's go through and select each one of these. Then once again, let's switch to the 3D cursor. It looks like it's already there, but let's hit period. Yep, it is. It's already at 3D cursor. Now we can just hit the S key and the Z key and pull down and get a little bit more of a curve there. Once again, all of them with the same amount. We go. Let's try that. Yes. So you can go back in and add a little bit more if you wanted to, maybe increase the amount that these go up, however you want to do that. I could pull these up a bit like that. Yeah, I think that looks pretty good. Let's go with that. Lastly, I think what I'll do is add an edge in here for each one of these. Just push in just a little bit. Just to kind of tighten this up. There we go. I think that cleans that up a little bit. Alright, now in the next video, let's work on these little casters here. And then I think we'll finish up the chair. 27. 027 Finishing the Desk Chair: Alright, let's take a look at these little wheels or casters. They're just, well, it looks like we could probably get away with a sphere and then duplicate a piece off of that sphere to put it on top. And then a cylinder. There is more to it. You can see little bolts in there, but you know what, that's going to be such a small piece of the scene. I don't know that we need to go into that much detail. So why don't we just begin with a sphere. I'm going to press Shift S to move that cursor back to the center of the grid. Then I'll press Shift a mesh and UV sphere. Now we certainly don't need this mini polygons in there. Let's change this to 1212. And maybe I'll even take the radius down to say, 0.1 here to get it a little bit smaller. All right, So we've got that. Let's zoom in sum and let's smooth it just to see how it looks. Yeah, I think that's going to look just fine for something this small. So let's scale this down. I'll hit the G key. I'm gonna move it right over here and let's try and get it figured out how big we want this to be. O, I've still got 3D cursor selected for the pivot point. I tried to scale it, and it scales from that point. So let's come back up here. Or we could hit the period key and change our pivot point to median point or the eight key. There we go. Now we're back into the center of the object. Let's scale it up just a bit and move it. Oh, maybe right about here. Let's see how big that is in comparison to these. Yeah, that's not bad. I think we could probably go with that. I'm gonna go to the bottom view here. Recall that the top view is the seven key on the numpad. So the bottom view is Control seven. There we go. Now we can take a look at this and put it in place. I'm gonna press Alt Z, hit the G key and maybe we put it about, I'm going to bring it right out to about here. Because ultimately we are going to have a little cylinder that's gonna go right in here. So let's do that. Now. Let's take a look, see how big that needs to be. I think that's okay. Let's go with that. Now for that kind of top In part right here, Let's just select some faces on the top. I'm gonna hit the one key on the numpad. Oh, we better bring that down to the grid here. There we go. Then I'll press Alt Z and the three key. And then let's just click and drag and select some faces up on the top. I'll press Shift D and enter. I'll then take that z and move it up just a bit in Z and maybe I'll hit the S key and scale it out, something like that. Let's try that. And now let's split it off as its own object just so it's easier to work with. For now I'll hit the P key and separate by selection. All right, let's go back to object mode and select that new piece. We could maybe pull some points up just a bit or we could turn it just a bit. I think what I'm gonna do is I'm going to turn it, I'm going to press RX and I'm gonna turn it a bit like this, but it's kind of angled a bit. Now if we take two points, say here and here, and drag them up, Let's hit G2 times and drag them up a bit like that. Alright, and then I'm gonna take these two and hit G two times and drag them up. But not quite as much like that. We get just a little bit of that curve. They're just kind of a hint of it. All right, now for the next bit, LET create a cylinder. What I'll do is I'll bring the cursor to this point here, Shift S, G2. Then let's press Shift a mesh and cylinder. This is of course a way too big and too many signs. So let's take this and take it down to 12. For the radius, maybe let's take it down to 0.1, the depth point to. And for our cap fills, Let's choose nothing. And then let's scale this down. And maybe I'll bring it up. Let's bring it straight up here, and then I'm gonna move it into this area here. Let's scale it down. So I'm again, maybe I'll press Shift Z to turn off the z-axis and scale it in like that. Let me move it so it's kind of in the center. Let's try this. I'm gonna move that here and then I'm gonna press Shift Z and bring it out a little bit more like that. So now we've got that. Let's take these two and bring them in like this. And then I just clicked and dragged on that blue plane, which is really the same as G Shift Z to turn off the z-axis. Then I want to take this guy right here and turn it was press RZ and turn it so it's facing away from the cylinder. I feel like that's the way it is here. I'm going to move the cursor back to the center of the grid. I'll press Shift S1. And if we zoom out, the size looks pretty good. I feel like I want them all to come out a little bit more. I'm going to press Control. Seven on the numpad. And then I'm gonna go to wireframe z and choose wireframe. And then I just want to move that cylinder out just a bit like this. Try this x0 and solid, and then we do in here. Not bad. I feel like that cylinder is still a little bit too big. S Shift Z scale in just a bit. Now let's combine all of these pieces. Click the cylinder and this, and this. Press Control J. And then once again, I'll right-click and shade smooth, and there we go. Now, the next task is to get this on all of the other legs as well. So I think what I'm gonna need to do is move the pivot point for this to the center of this cylinder. Let's tab into edit mode or press Alt Z so we can see this edge and I'll Alt click this edge. And then to move this cursor to it, shift S2. Now let's do tab back into object mode and move the origin to that cursor. Set origin, origin to 3D cursor. Now, our origin of this object is at that point. All right, Now let's move the cursor back to the center of the grid, shift S1. Then let's change our pivot point to 3D cursor. So I'll press the period key and choose the six key and change it to 3D cursor. Now when we rotate, we're going to rotate around that point. So now let's go to the bottom view with control numpad seven. Let's go to wireframe z and wireframe. And now we can duplicate this and rotate it around to the proper points on each of the legs. So let's give it a try. I'm going to press Shift D R and move that new and around to about right here, I'm gonna press the Shift key so it moves a little bit slower. And there we go. Shift D R to do this one. Here. Shift D are we just move this around to each of the legs. Shift DR. here we go. Now let's go and see how we did. I'll press Z and solid. Let's then tumble around and see how we did. Not too bad. Each of these seem to be pretty well-placed. This May 1 be could move a little bit more to my left here. So let's press RZ and I'll hold the Shift key down and just move it just a tad. Alright, so we have our casters. And to finish this all off, I think what we need to do is combine everything. We have a whole lot of objects here in our outliner that make up this chair. I talked about putting caps on the end of this and even we could have put trim at the end of this. And if you would like to do that, please do. I think I'm just going to leave it as is because as I said, I'm gonna push it up to the desk and I don't think anyone's going to see it. What Let's do is begin figuring out what kind of modifiers are on this. For the cashiers, we don't have anything. For the legs. We have a subdivision surface for this. We don't have anything. I think we're going to need to apply our subdivision surface modifier here. We're only at Viewport one, so I think that's good. Let's pull this down and click Apply. If we tab into object mode, this is what we see. That's not a terrible amount of polygons there. Alright, so now we could take all of these. These all have no modifiers on them and we could join all of this together, Control J. And there we go. Just for now to get that done. Now let's deal with these other three objects. This cube two is the back cushion. This has both a mirror and a subdivision surface. So I'm going to ensure that clipping is turned on for the mirror and I'll go ahead and apply this. Then we've got a level of one for the subdivision modifier. So I will go ahead and apply that. That's what we have. That's kind of nice. Cubed zeros. 01 is the cushion up top. Let's turn on clipping for that. Let's apply that mirror. And then once again, Ron view port level one for the subdivisions. Let's go ahead and click Apply tab into edit mode, and that's pretty good there. And lastly for the chair itself, Let's pull this down, ensure clipping is turned on. Let's click Apply. Once again. Subdivision at level one. There we go. That's pretty good there too. All right, so now let's take this, the two cushions, Then we'll select the chair Control J. And there we go. I'm gonna go ahead and smooth it again just to make sure we apply that evenly over all the pieces. And then let's come down here to auto smooth. Turn on auto smooth. And let's drag that up until we get it to a place that we kinda like it. I'm gonna say, we've still got a little bit of an edge here. Drag that up for me at around 82 or 83, it really smoothed up pretty nicely. All right. Let's move the pivot point into the center of the grid. And it kind of looks like it is, our move manipulator is there, but that's because we're using 3D cursor for our pivot point. So let's change that to median point. And then we can see a little bit easier that the origin is not yet in the center of the grid here. So let's do that. Object set origin, origin to 3D cursor. Let's give this a new name, call it desk chair and the outliner. Let's bring back our furniture and the reference figure. And let's remove this chair. We don't need this anymore. And I'll just bring this back, scale it down, and let's see how we do here. Yeah, I kinda like that now. Alright. So there we've got our desk chair. I'm gonna go ahead and hide the figure. There is what we have so far for our Victorian room. I think I want to do just a few more pieces of furniture. And then I think Let's begin creating the walls, the floors, the ceiling, etc. And work on the basic layout of the room. And then we'll begin going in and noodling on the details, creating little knick-knacks, putting things on the walls, etc, to begin to fill it out. So it feels more like a lived in space. 28. 028 Beginning the Wall Table: Well, I've been looking through the reference images and I'm thinking maybe we could make this to put between these two chairs up against a wall. What this room is going to look like is still evolving in my mind. But that's the fun thing about Blender is you can just kinda begin creating and working with the layout and let it evolve a little as you go. You won't be able to do this with every project, but since this is just our little project, we can do it our way. So I'm going to begin on this now let's hide the furniture. Once again, I'm gonna put that positive x on the right side just because that's what I like to do. And I'll press Shift a mesh cube. Let's scale it down in the z here. And what I'm gonna do is begin with this top part right here. I think this curve right here, this is gonna be a bevel. But this bevel, I think it's gonna be easiest to do once we get all of the little ridges up on top here and this ridge on the bottom. I think that curve is going to be easier to do once we get those in. So let's do that first before we do this curve. Alright, so I'm going to scale this down. Let's scaled in the y with x and y. Let's try and get this generally the size that we think it should be. I'll press Sx and move this out some and then I think maybe a little bit narrower here, maybe something like that. Let's see how that works. All right, Now from here, I think I want to go ahead and extrude down. Let's do that first. Actually before I do anything, let's split it and mirror it to the other side. So I'll press Control R and drop an edge right down the center and hit Enter two times to ensure it's in the center. Hit the three key and Alt Z and delete one side, delete faces. And then let's add a mirror modifier over here, turn on clipping and turn on the cage. Alright, now that we've done that, let's go ahead and extrude down here. I think what we probably need to do is applied to scale. But let's see if this will inset in a uniform way. Let's press the I key and bring that in and then hit the B key to turn off the boundary. And then, yeah, it isn't really in setting in a uniform way here. And that's okay. We can just scaling the y SY here like this. And then let's extrude down. Let's hit E and pull this down to about right here. Let's say if you like, it may need to be a little bit longer. Let me go to the front view with the one key on the numpad and I'll go to x-ray and just click and drag these and pull them out just a bit. Let's try that. Then also, let's just bring it up. It's too low, isn't it? Let's bring it up and maybe, maybe about this high. Let's see how that works just for now. Alright, so now let's work on these little ridges here on the top and this one ridge on the bottom. Let's go ahead and tab into edit mode and I'll press Control R. And it looks to me like these are, there are four ridges here, 1234 and then this little thing up top. I think we should probably insert eight edges. I'll press Control R and then scroll the mouse wheel. And then on the bottom left-hand corner of the interface, you can see we've got number of cuts and I'm gonna put eight. Then I'll just hit the Enter key. All right, so now that we've got that, let's select them. I'm going to select every other one I think so maybe alt click this one, Shift Alt click this, this, and this. Now let's pull these out, Let's just scale these out. And since we had a little bit of problem with the scaling the bottom, Let's tab into object mode and apply the scale and see if that helps any. It may not honestly, but let's press Control a and apply the scale and see if it'll help just a bit. All right, from here I'm just going to hit the S key and scale out. But I should also press Shift Z to turn off the z-axis. And then let's just scale this out like this. Let us go to the top view with the seven key and see if it scaled out in a uniform way. It almost did, but it still looks like even though I applied the scale, I'm going to need to scale out in the y. So SY, hold the Shift key and let's pull that out just a bit so we get a uniform thing all the way around there. I'll hit the period key to zoom in again. Now that we have these edges, Let's use our Bevel tool to round these out. I'll press Control B and pull out just a bit and then I'll scroll the mouse wheel. And maybe you can also see here on the bottom of the user interface kind of a quarter of the way from the left-hand side you can see the number of segments as I turn the mouse wheel. So I'm just going to go with three here. Now, let's try that. Yeah, that looks pretty good. So let's now go to the top. What I'm gonna do is, I think bring this down. First of all, I'm gonna press G and Z and hold the Shift key and bring this down some. And then I'm gonna scale in just a little bit. I'll hit the S key and scale in just a little. Hold the Shift key down. Is it doing that uniformly? Let's take a look. I'll hit the seven key and zoom in. No, it isn't really doing it uniformly. So I'll press SY and bring that in just a bit like that. And then I'm just going to extrude up is to get this little ridge on top. Just hit E and pull straight up like that. Just a little tiny thing there. That's all I want. Alright, so we've got that, That looks pretty good. Let's go ahead and smooth it. And then let's come over here to the object data properties turn on auto smooth. Yeah, that's looking pretty good. The next thing let's do is this little guy right down here, this edge. I think for this, what we can do is do the same thing we just did. Let's press Control R and add an edge right down here. And then let's add an edge right in the center here like this. And then we can scale out, hit the S key, scale out a bit. And once again, we're probably going to have to scale in the Y2 SY. Let's go ahead and do that. Then, just like we did up on top here, Let's just bevel this in the same way, Control B, Let's pull out. We've got still the same number of segments. There. There we go. So now we've got the ridges on the top and the ridge on the bottom there. Alright, now that we've done this, let's go ahead and work on that bevel there before we work on the drawers, just so we know where they're going to be. Let's tab back into edit mode, into key for Edge mode and alt click this edge. And we don't need this edge here. We just need this one. This is the only one we're going to do. And hopefully that'll give us that curve there. Let's press Control B. And if we pull out, we get something like this and that's not quite right. I'm going to give it a few more segments. I'm gonna go ahead and give it eight or so. We can of course change it here if we need to. But what we need to do now is change the shape and we can click and drag in the shape field and take it down towards 0. If we take it to 0, it just becomes a 90 degree turn. But if we bring this back out some, we can get ourselves a nice curve like that. We can increase the width. It looks like it needs to be a little bit bigger. So let's increase the width field and we can do that. We can get something that's about like this. Let's take a look at it. What do we think? I feel like it's a little too big. So let's take the width down some. And one thing we can do. One thing I can do is it now looks that this part is thinner than this part. So we can hit the three key here. Press Alt Z, hit the one key. And now we can just grab these and bring them straight back like that, or bring them forward, I should say. Right. Let's try that. How does that look? Yeah, that looks a little closer to what we're going for here. All right, we've got the top part now. In the next video, let's work on the drawers and the legs. And then ultimately we're going to need to begin working on these handles because I think I do want a handle similar to this, since there's only two. Maybe we can give this a shot that's coming up next. 29. 029 Creating the Drawers and Legs of the Wall Table: Now let's take a look at the drawers here. I think. I think we can just use inset here, but with boundary on to create the drawers. One thing I do want to point out is that since we've beveled this, this polygon here is an end gone, a polygon with more than four sides so that if we try to insert an edge loop control R here, it wouldn't go through. It would only go up to that point. That's something to keep in mind when you're creating bevels on an object. Is there once you do, at least on this top part, if you insert an edge, it won't go all the way through. But we're not going to insert edge loops to define the drawer here. We're just going to use the offset tool. So if we select this face here, and let's just hit the I key. And now boundary is currently off, so let's hit the B key again, and there we go. Now we can pull these out and see one of the problems we have is that the right side is a bigger border then the left side. So I think what we're gonna need to do is bring this like this. Because you can see here that this side here is wider than what we have between the two. What we can do is we could now with this selected press Sx and we could scale in just a little bit here. And we could also take this edge and just drag it this way. We can just pull it until we get it about where we think we want it like this. Maybe something like that. Once again, that's the beauty of modeling your objects here in the center of the grid aligned to the global axis is you can just take this in the global transform orientation and move these edges around. Alright, so now that we have that, let's take this phase one more time and let's start getting these little details here. So I think for the edge around here, we can do what we just did. We hit the I key and let's instead in a bit. And then I'm going to Alt click between these two phases. To select these two. I'm going to extrude these out just a smidge and then I'm going to add an edge and bevel it again to get that curve. So let's press Control R and add an edge right here. Let's pull it straight out again like that. Then let's do our bevels. So I'm going to press Control B and pull out a bit. And now it's gonna be weird because we still have the settings from the last time. Let's first of all take the segments may be down to three. Let's take the shape backup to 0.5. So it curves out a bit. And I think that's pretty good right there. I don't think we need to many more edges besides just three. Let's tab back into object mode and take a look. Yeah, that looks pretty good. Now let's get this little piece right here. I think all that really needs is just an NSSet. Once again, let's bring this in. And then what I'll do is just bring it out just a bit. I'll hit E and pull out. And that should be plenty for that. All right, so now that we've got those, we can work on the legs. Now, since we've got these in, it feels to me like it's too long. Again, I'm gonna go to the front view with the one key on the numpad tab into edit mode. Let's go to vertex mode with the one key and press Alt Z. And I'm just going to take this, this side and just bring it a little bit. That's all. Let me try this. Yeah, that's that's all I wanted there. I just felt like the drawers were a little bit too elongated compared to what we're seeing here. Alright, now let's work on one of the legs. And it looks like it begins with a cube, kind of like we've done before. Let's go ahead and press Shift a mesh cube here. Let's scale this down quite a bit. I'll bring it up and let's put it in place here. Bring this over. We probably don't need that edge or that face on the top. Now, do we let select that face, hit Delete and delete faces. And then let's, I'm gonna go to this side view with three key. Hit G, bring this over here. Let's go to the front view. Okay, That's looking pretty good. And then let's just hit S and Z and scale that down a bit. Now, is that about the size that we want? That too small? No, that looks about right. Actually, I think it just needs to be maybe even a little smaller and pull it over so it, it fits within this space here. So let's do that. Then. What we can do is bevel those corners, those vertices on the corners. So let's tab into edit mode, hit the one key, and let's select these individual vertices. And then, whereas Control B is two bevel in Edge, Control Shift B is vertex bevel. So let's press Control Shift B. Let's pull out just a bit and we've got a lot of points here. So I'm gonna scroll the mouse wheel until we just have that one segment there. And maybe something like this. Let's try that. All right, Now let's move our 3D cursor to this point with shift S2. And then when we create a new cylinder, it will pop in there. So shift a mesh cylinder. Let's take our number of vertices down to 16. And also I'm gonna change this to 0.1.2. We shrink that down a bit. And I'll go ahead and leave the end gun on the bottom just so it's easier to extrude down. We could, if we wanted to take this top one here, we can select that and delete faces there. And then let's bring this up. Scale it down a bit, fits in their scale it out just a bit there. Then I'll take this face right here and let's bring it up. I think let's just begin with this right here. At this point, I think we can maybe scale out a bit like that. Then maybe let's extrude down, just a hair. Extrude down again. And let's scale n and m right here. So let's didn't hit E and pull down a bit. Now let's kind of slump that out like this. Then create an edge right there, maybe E, S and scale out E and bring it down. Something like that. Es and come in again like that. Now from here, I think we can just extrude straight down to, well to this area here. So let's just hit E and pull straight down. And maybe right in here, let's scale it quite a bit. With the S key, which hit the period key on the numpad to zoom in. And we just need these little guys right down here. So let's hit G s, pull that out and pull that in. And yes, it is curved quite a bit there, but these are very small, so I'm not going to do the curves here. I'm not going to Use the extra polygons to do the curves. Let's hit E and S. And then again here maybe I'll scale in just a bit and then E and then scale out just a bit just to give it that hourglass shape. And then let's do it again. Es pull out something like this. And then we pull it straight down again. It looks like yeah, just go straight down. Then it looks like there's something just right at the very bottom here. Let's just hit ENS, pull in and then E and pull it straight down like that. All right, let's see how we did. I'm going to press Shift S1 to move the cursor back to the center of the grid. Let's take a look at the height of it. What do we think I feel like it's a little bit too low, so let's move this up some. And then I'll take this and this and move it up like this. Then let's take this down here and move these down. Alt Z. Click and drag, and let's just drag these straight down here like this. All right. Let's see how that worked. Yeah, I think that's a pretty good proportion. Let's go with that for now. And then for these little pieces right in here, Let's see what we can do with this. How many do we want to do here? It looks like it begins a little bit farther down from the top. So let's put an edge right up here. And then it also looks like it goes not quite all the way down to the bottom here. Let's add an edge right here. Now let's select some faces. How do we do this? Do we just do one base and then every other one or every two? Well, let's try every other one. Let's just see what happens, how it looks when we do that. I'm gonna hit the period key to zoom in. Tumble around this a little bit more easily here, and let's do one here. Okay, so we've got these. Now. What Let's do is let's hit E and then the S key E, S scale in just a bit. Then I'm going to hit E and then scale in without the z-axis. Let's try that. So Shift Z, pull in just a bit like that. Let's try that. Now let's smooth it and see what we get. We get that. Let's turn on auto smooth. Now what Let's do is let's duplicate it and put it back here. So I'm going to take these two items here are go to the top view, press Alt Z, and let's press Shift D, and then move this over to maybe right about here. Let's say, let's see how that looks. That looks pretty good. Then let's mirror them over. I'll select this and this. Let's change our pivot point to 3D cursor. So we can pull this down and change to 3D cursor. Now it's going to be mirroring from this point. List, press shift D and Enter Control M for the Mirror tool. Let's hit the X key and enter and look what I did. I didn't select these guys on the top now, did I? So let's try that again. Let's select this and this. Then let's press shift D, Enter Control M and enter. We go. Alright, we've got the basics of that table. The next video, let's work on these little drawer poles and see what we can do with those. 30. 030 Finishing the Wall Table: Alright, now let's work on these handles. And I think what we're gonna do is maybe use a path for the handhold here. And then we can create a sphere and then use a circle and do some extrusions to get displayed here. And of course, we'll use the mirror modifier to mirror everything over. So let's first of all, just click and drag on the icons to hide everything here. I'll go to the front view with the one key on the numpad. And let's just press Shift a and go to curve and path. And then let's tab into edit mode. And I'll just select these two vertices and hit Delete and delete those. Then let's add a mirror modifier to this here. Then we can begin extruding this out to get this shape. Maybe let's take this and let's hit E and kind of come up like this. Hit E again. Maybe around here like this. And let's begin going in and get this here. So let's hit E, and I'm gonna hit E a couple of times here to get that curve and then go straight out. Like this. I think I want to go right to here. Okay. That's not bad. I think it's a little too wide. Let me drag select all of these and bring them in, something like that. And then maybe we could grab these and bring them down a bit. You can just go through and grab the vertices you think you need and just move them into shape. I think I'm going to go with this right here, maybe move it in just a smidge more. There we go. All right, so now what Let's do is let's give it some depth. Come down here to the object data properties. And in here, recall that we can click and drag on the depth field under bevel, click and drag and bring that out. So we get kind of a tube there. And maybe something like this. It looks like there's a little bit more depth here that we can get by extruding or excuse me, scaling once we convert this to polygons. And to do that recall, we really wanted to take the resolution down to two and the resolution preview. Let's try this at three. And when we do that, That's not bad actually, that, that curve is pretty nice. All right, let's go with that now. Then what Let's do is tab into edit mode. And let's move the 3D cursor to this point right here to begin working on one of these plates. So I'll press Shift S2 to move the cursor there. And then let's create a sphere. Let's press Shift a mesh, a UV sphere. Let's take the segments down quite a bit to 1212. And then let's hit the S key and scale that down. So probably something about like that, maybe a little smaller. Then let's smooth it. Let's take a look here. Yeah, so something like that I think is fine. Now we want to get this right here, this plate right here. And for that, what Let's do is let's create a circle. I'll just keep that 3D cursor there. And let's press Shift a mesh circle. And let's take it down to, well, let's take it down to 16 sides. And let's add a fill to it. Let's choose N gun here. Just so it's easier to extrude again. I'll turn it in the x-axis. Let's press RX and I'm gonna turn it this way and then hold the control key down. And that will snap it every five degrees. And if you look up in the upper left-hand corner, you can see the rotation in, in-degrees there, and I'm gonna take it up to 90 degrees and click that. Let's move it back a bit. I'll go to the front view and let's scale it down to about the size we want. Then we can begin extruding out to get these ridges. And it's really kinda hard to tell what we need to do there, what is going on, but let's go ahead and give it a try. I'll go to face mode and select that face. And then let's hit E and pull out and hit S and scale in. I'll hit E, S to scale in just a bit more. Then let's hit E and push in scale in some. Then let's do this again. I can hit the I key to inset, which is pretty much the same as E and S. Then let's say E and pull out again. I pull in, I'll scale in some, I guess I don't need to pull it in that far. Let's keep it out a little bit farther. So there's those two. It looks like we can do one more. I think let's, let's hit E and pull out some. Let's hit S scale in a bit. Maybe like this. And then let's hit E and then scale in like this. See what happens if we do this. Maybe something like that. I'll hit the a key to select everything and push it forward a bit. Let's try that. All right, I think that's pretty good. I feel like this is now still a little too big. We could hit the S key and scale it in a bit. And then take these two and hit G and bring them down. Some like this. Let's take these two and join them with Control J. And then let's mirror that over. So let's move the cursor into the center of the grid shift S1. Then let's change to our 3D cursor for the pivot point by pressing the period key and choosing 3D cursor. Now if we press shift D and enter to duplicate and then Control M and the X key that will mirror that over to the other side. And then I'll hit Enter. And now let's go ahead and convert this to polygons. If I hit the Z key and go to wireframe, you can see what it'll do, what kind of polygons it'll create there. If we go down to two. Let's see how this looks. That's not bad actually. I mean, it's gonna be pretty small in the scene. So actually let's go ahead and go down to two. And then I'll right-click choose convert to and convert to a mesh. So there we go, We tab into edit mode and there are the polygons. Let's now take this edge right here, and let's scale this up. And let's do it in the z and the y-axis and not the x. But if we just hit Shift X to turn off the x-axis, we're just going to get that. We need to use our proportional editing tool up here to give that graduated, that smooth shape here that we have here. Let's turn on the proportional editing tool. We can click here. And then if we just press the S key and go like this, let me hit the S key and scroll out so we get that a little bit bigger. You can see how the edges push out in the x. So we really need to turn off that x-axis as we just did before. Let's press Shift X. And now we can scroll the mouse wheel to change the influence and pull out like this. Now if I go out like that, That's too much. If I go in, that's not enough. So let's bring it out about like this. That's actually kind of nice. Let's click. Let's take a look at it. Yeah, I think that's pretty good. Let's go with that. Now we just need to combine everything. I'm gonna hit the a key and press Control J. And then let's smooth it. And let's go ahead and turn on auto smooth. And that helps us see those edges. That's nice. Yeah, let's do that now if I tab into edit mode, we've got one more edge right here and right here, I wonder if I could make that sharp. You can kind of see that edge right there. Let's press Control E and choose mark sharp. And now let's see how that looks. Yeah, that just added that one edge right there. But we're going to have to raise smooth it. And then drag this up here, or drag the auto smooth up quite a bit to smooth those out. I think that's what I want, so, well, we still got this edge right here. Let me drag up until we don't have those edges right in here. Let's try that. All right, Now let's get it back on the table. So before I do that, I'm going to delete these faces here. Delete faces, so we don't need those. I'm going to select this edge and this edge with Alt and Alt Shift click OK. Let me try that again. Alt click this one, and Alt Shift click this one. Then let's change back to median point. We're still at 3D cursor here. So I'm gonna hit the period key, the median point, and that puts that manipulator right there in the center between those two selections. And that's where I want the origin of this object. I'm going to move the cursor there. First shift S2. Then if we tap back into object mode, we can move that object origin to 3D cursor. There we go. Now we're going to scale from that point. Alright, let's bring everything back. Here it is. Well, I don't want the rest of the furniture, so let's hide that again. Okay. Now, I'm going to move the cursor to the center of the grid again, shift S1, so that's out of the way. Let's bring this forward, Let's scale it down. And let's see if we can put it in place. I'll go to the front view with numpad, hit the Z key and go to wireframe. And let's see if we can place this where we want it. I'm gonna come over here. Let's scale this down. Something like that. So those little round parts fit in there. These almost don't. You can see that there. But I want mine to fit in there. Maybe something like this. It's just almost hanging over that bottom ridge. I think I'll do that like that. Now let's hit the Z key and go back to Solid. I'll hit the period key on the numpad and let's bring it back until it just intersects with that right there. Now what I want to do is make sure it's in the center. What Let's do is it's tab into edit mode and let's just hit the three key and select that face there. You can see there's the center of that face and we're a little bit off there. So I'll move the cursor to it with Shift S2. And then I'll take this and move this to that cursor Shift S and the eight key or selection to cursor. There we go. Now that's right in the center of that drawer. I'll move the cursor back with shift S1. Let's change to 3D cursor, period, 3D cursor. And I'll select this and let's mirror it over to the other side. Now let's press shift D, Enter Control M and the X key. And there we go. Now let's combine this altogether. Let's come back over to our modifiers panel and make sure we don't have any modifiers on here. What we do here, we need to apply the mirror here. Let's do that. I'll apply that there. Then let's go through and just select everything. Actually, i'll, I'll just hit the a key and select everything and then press Control J. There we go. Now let's make sure auto smooth is turned on it is okay. Let's move the origin of this object to the 3D cursor in the center of the grid. Set origin, origin to 3D cursor. There we go. Let's give it a name. Let's call it Wall table. And let's bring our furniture back. And let's slide it over here between these two chairs, I'll press RZ 90. Oh, I'm still using the 3D cursor. Let's hit Escape. Now let's press period change to median point. There we go. Now if we press RZ 90, it'll turn the wrong way. Let's hit the Minus key, Enter and then scale it down. And let's see if we can get it about the right size. I'll bring it forward here. And let's just scale it down till it's about yeah, tell us about like that. There we go. There's our wall table. Alright, let's take this and move it into the furniture. In the next video, we'll begin on another one. 31. 031 Beginning the Side Chair: As I looked through the reference images again, I've found this chair. Let's press Control Spacebar and zoom in. I think I'd like to do this. I kind of like what's going on with the scroll work on the legs here. I think it'd be a nice chair to just put in front of the desk. So let's work on this one. I will press Control Spacebar again, and let's hide the furniture here. Let's just begin once again with the seat of the chair. Let's block in the seat and the back cushion and these back legs first and then we'll begin working on those more intricate pieces for the legs. So let's take this and scale it down in the z-axis and feel like it's a little bit wider than it is. Deep. Maybe. I'll shrink this down a bit and let's kinda put it. What do you think, something like that? Maybe I'm just trying to get a sense of how tall those legs should be. Now for the back legs, I think what I want to do is just create a new cube, shift a mesh cube, and then let's scale it down. And at least while I'm trying to get the proportions in place, I'm going to adjust, kind of pull this up. So let me zoom in and get it right on the grid floor here on the green axis. Then I will take this face right here and let's just pull it up to about midway where the cushion is. I think right in here. Maybe that can come back a bit. It's right in there and then let's just kind of angle it back. So I'm just going to hit E and enter and then I'll hit the G key and kind of pull it up and angle it back. How big should that be? Something like that, maybe. Then let's use the mirror modifier for this one, I'll move the origin to the 3D cursor. And then let's just use this mirror here to mirror that over. And that's because if we need to make any adjustments, we can just tab into edit mode and hit the a key. And then we can just move it around like that. That just gives us a little more flexibility as we're trying to figure out the proportions. All right, now let's work on this cushion on the back. For that once again, I'll just press Shift a mesh cube. Let's scale it in the y. And I'll hit the three key to go to the side view. Let's take this up like this. Maybe scale it in the z. Then I'll tilt it, turn it with the R key here and hit G and move this down like this. Let's kind of get it in line with the back of the chair there. Yeah. So symptom like this, Let's scale it down in the x again. I think I'd like to scale it out in what would be the Z here, so it's a little bit longer. So if I scaled it in the z, since it's angled, it would kind of skew it. So let's change from global to local. And that will then allow us to scale it in the angle of the object. So let's hit S. Pull that out. And now we can slide it down in that axis as well. Maybe, maybe something like that. Alright, so now what Let's do is let's work on these little guys. And I think what I'd like to do is just create one of these, one of these little barrel type cylinder things and then use the array modifier to duplicate it again and again. So let's first go to the front view here. And what I'll do here is just press Shift a mesh cylinder. I'll take this down to 12 sides. Then let's type in 0.1.2 here to bring it down quite a bit. I'm going to leave in guns for the cat fills for now. I'll turn it in the y-axis, RY 90. I could change back from local to global. And let's use the comma key to do that. Recall that these two menus can also be accessed with the comma and period keys. So I'll hit comma and then I'll hit F4 to go to global. Alright, now, let's split this down the middle so we can mirror it. I will go to face mode and x-ray and select these and delete faces. And then let's add a mirror modifier to it, and we don't see it. We don't see the mirror here. If we hit the N key and tap back into object mode, we can see that we've got a 90 degree turn in the y-axis, of course, because that's just what we did. We'd have to turn on the z to get it to mirror and we don't really want to do that. Let's just apply the rotation. And that should help lift press Control a, apply the rotation. And there we go. So now let's turn on clipping. Turn on the cage tab into edit mode. Let's hit the one key. I'm just going to try and make one of these little things here. Let's just begin here and hit E and pull out and then the S key and go in like that. We could Alt click on this edge and maybe scale it up just a little bit. So it gives it a kind of a rounded look. And then let's get these little things on the ends. So maybe if we just hit E and then E and S, then E, then it needs to come down quite a bit. I'll just hit the I key to inset and bring it down to about right here. And then I'm going to extrude it out just a little bit. So these two will connect up when we use the array modifier. Alright, so let's go back to solid with Alt Z. I will hit the period key to zoom in. And if we tab into edit mode, Let's select this face here and delete it. We don't need this. I'll delete faces and let's go ahead and smooth it. Yeah, and I think that's probably going to work just fine. Let's go with that. We can come down here and turn on auto smooth and drag that up. That helps clean that up a bit. Now we need 123456 of these going across their little bits at the end that I'm not going to worry too much about. But what we can do is set up these cubes here. These little cubes, you can see two on the front, one in the back to right here. So we can set those up and then use this to connect them together. So let's do that. Let's press Shift a mesh cube, will scale it down quite a bit. I'll just scale it down to it's about the same size as this and maybe scale it up in the z just a little bit. It looks like they're just a little taller. Now let's bring this over. I need to scale it down just a bit. It's about the same size as the back leg and then I'm gonna bring it up to here. So that's this one here. So I guess it needs to come down some right there. And then let's press shift D Z and bring this up to about right in the middle here. That's that. We can then take these two and press Shift dx and take them over here. We could have mirrored them as well. Now let's take all of these here. Go to the side view and pull them up to where the legs are gonna be. About right here, I'd say. Let's start working on this right now. So it looks like this goes between these two. And it looks like it's got an extra cube coming out of it. So let's take this one. I'm going to press shift D, enter. Pull this way and let's scale it down quite a bit. There we go. We could of course just hit Shift D and X and pull that over here like that. Now let's take this and let's apply the mirror. Apply here. Then I'm just going to hit the G key and move it over. So it's kind of just barely connecting with this here. I'm going to scale this down. I think I want to move that pivot point to this side over here. Let's do that. Let's Alt click this, press Shift S2, and then move the origin to this point right over here, origin to 3D cursor. All right, Now let's see what we can do with this. I'm going to zoom in here. Let's move this in like this. Alright, now we're ready to begin using our array modifier. But what Let's do is wait on that until the next video. 32. 032 Working on the Legs of the Side Chair: Alright, now let's duplicate or use the array modifier to extend this on over to the other side. Let's select this object here. I'll move that cursor back to the center of the grid just so it's out of the way. Then let's come over here, click Add Modifier and choose array. Now see how it just duplicated that. That's exactly what we want, but we want more than two. We've got six here. Let's increase our count up to six and see what we get. That's six of them, but it doesn't quite stretch across. Now, granted, we don't have these little n pieces, but still, there are a couple of things we could do. One thing is you can click and drag on the X factor here and spread them out like that. But that's not what we want. Let's type one back into there. So really what we can do is just scale this original piece. If we tab into edit mode, you can see there it is. We could just hit the S key and scale out like this until we hit the other side like that. Now those are a little bit too big around. What we could also do is scale this and turn off the x-axis. So let's press the S key and then Shift X. And now we can bring them down like this. There are a little more elongated than we have in the image, but that's okay. Let's take a look at that. Yeah, Actually that's really not bad. For our next one. We need one across here. Let's pretty much do that same thing. Let's take all of these pieces right here, and let's just duplicate this and move it down into the center. Let's press shift D. Move it down here like this. Then I feel like I want to reduce the size of these here. Like this. Let's press S, scale them down like that. Then we want these on the side. So can we just take these right here and duplicate them and put them in here? Well, let's see. I think we're not gonna be able to have the same number there, but we can try it. So let's press shift D and I'll hit Enter. Then I'm going to pull it back in the y-axis. Let rotated in the z, r, z, 90. Enter. Then let's get the three key. Let's bring this down like this. Yeah, we're not gonna be able to do it quite the way we have it going across. Maybe what we should do is with this selected, whereas our original one there it is. With this one selected. Let's reduce our count. And then let's take this and move it out like this. Yeah, that works. Now we could also move this piece so it gets right in the center there. Why don't we do that? Kind of cheat a little bit, but that's okay. Let me move this into the center. And I'll grab all of these. I'm just going to move this over like this, so it's right in the center there. Now we could take all of these and move these over. Hit the one key to try and get it in the center there. And it looks like I do need to move this over a bit. We go. Yeah, It's not looking too bad. Okay. Then let's grab all of these. We don't need that when we need this. This and this. Then I'm gonna go to the bottom view control seven, hit the Z key and go to wireframe. So I can see this a little bit better and press Shift dx and bring this over here. Like this. We go z and solid. There we've got the front and the side and the crossbar. Now let's work on the upright one. So I'm gonna take this original one here. It looks as if there's a square here. I think I will go ahead and duplicate this shift D z and take it up into here like this. We may not want it that tall. I'm going to bring it down like this. There we go. Then let's take this original one here. And I'll press shift D y just to bring it out. And let's now turn it into y-axis, RY 90. Enter. Now let's take it and bring it up here. Like this. Go to the side view with the three key and bring that into here. Now it looks like we could take this one here and move it up to make it fit in the center here. Or well, we should probably adjust this now, shouldn't we? Let's do that. I'll select this and let's reduce the count. Then should we scale it down? Well, let's try just hitting the S key and scale it down a little bit like this. Let's try that. That's not bad. It kind of goes in the center here. We could maybe move this down a bit. So I'm just trying to rearrange these so they're kind of aligned with each other without doing a whole lot of really nitpicky work here and you hand, you may be thinking too late, it's already very nitpicky and you may be right, but I'm just going to take these here. And I will move these up. They fit this one just a little bit better. Like that. There we go. And then I will take this and this, this and this, these two here. Let's duplicate these and move them over, shift dx over to here. There we go. 33. 033 Finishing the Side Chair: Let's now just finish off with this little thing right down here. One thing we could do with that is select one of these. That original one is up here. We could just duplicate this shift easy and bring it down. Then we could turn off or delete the array modifier off of this one at the x here. And now we just have this. Alright, so now what we can do is tab into edit mode, go to x-ray at the three key. And we could just remove this here to delete faces. And then we could take this and just scale it in just a little bit like this. Maybe take these two and bring them down a bit like this. There we go. So let's try that. Yeah, we just have that there. That's good. Let me go back to the front view and I'll just duplicate this and move it over here. There we go. Now we've got those pieces of the chair. I feel like this is too big here. I think I will scale this down. I'll just scale this down over here, so they're not exactly the same here and that's okay. This is a handmade piece of furniture. So now let's take this and let's split it and add a subdivision surface modifier to it. So I'll delete 1.5. First of all, and add a mirror here. Then I will maybe scale it up in the z quite a bit. Looks like it's a little bit thicker. And then when we add the subdivision surface modifier, it's going to kind of collapse there. Well, I better turn on clipping the cage for the mirror. And then I'll tab into edit mode. And let's add a few edge loops here too. Hold this the way we want it. This. Maybe move that one back. Maybe move that forward a bit. So you can see we're kind of getting that curved top. Kind of look there. I will scale it up a bit and move it forward some because we needed to cover up the front here. Scale it up just a bit. And then let's take these top edges. I'll turn on the cage for the subdivision, and let's take these and let's just pull them up a bit. So it's a little bit more curved. It looks a little more, a little more cushy. And I will smooth it. All right, there we go. Then this up here, Let's do the same thing. Let's split it down the middle. Let's delete one side. And let's add a mirror modifier to it. Turn on clipping and the cage. Let's then add a subdivision surface modifier. Here. I'll tab into edit mode and it's looking pretty thin here. We could go ahead and add edge loops, one down here, one up here, maybe one on the side here like this. Then we want one in the back here, or I should say along the side and push it towards the back like that. We go. Now let's just scale that up just a little bit. Maybe I will change to local transformation orientation and scale in the y a bit and then push that forward some. All right, let's see how we're doing here. All right, We're getting there. Let's scale out in the x just a little bit. Let's smooth it. Let's see how we're doing. I feel like this bottom edge could come down a little bit more. I'll slide this edge along the mesh with G2 times. Bring that down quite a bit like that. Yeah, there we go. Then lastly, I think I'd like to bevel these edges right here. So this edge right here, and this one. Let's bevel those. I'll press Control B and pull out and we don't want them to overlap. But if we bring it out to here, scroll the mouse a couple of times, maybe something like that. We can get just the tiniest of curves there. That's all we really need. I feel like I'd like to scale in the y and then pull it back a little bit like that. Alright, so now we just need to go through and apply all of our modifiers here. So let's do that. I'll apply the mirror and the subdivision at level one. Same up here, the mirror and the subdivision. Let's apply the mirror for this one. And let's go through and apply the array modifier for all of these. They become permanent like that. And maybe this one here and apply. Okay, now let's just select, Well let's just hit the a key and then press Control J. We had one more thing in here. Let's press Control Z. This guy, we had one more array. We go. Anything else? Well, let's see. I'll hit the J key. Press Control J. There we go. Now let's smooth at One more time. Come down here, turn on auto smooth, and then we need to drag this up to clean up some of those edges. Maybe like that. That's not bad. I'm up to about 50 degrees on that. Then let's move the origin to the 3D cursor in the center of the grid. Let's bring our furniture back. Let's scale it down and we'll try and put it in front of the, in front of the desk here. Let's take these guys and move them back a bit up. You can't do that. We're in local transform, so we need to change to global. And then we'll be able to move them both at the same time there. Let's turn this around our z 180. And I'll go to the side view here. Let's bring this in and maybe scale it down a bit. We go and then let us go to the top view. How does that look? It really doesn't look too bad. I think. Maybe just a little bit smaller. Let's scale it down just a little bit more. All right, Now let's take this. The seven key. I'm going to duplicate it. And then I'll just maybe turn it just a bit so it it isn't perfect. Here we go. Here's our chairs in front of the desk. Yeah, there we go. All right. We're making progress. 34. 034 Starting the End Table: I feel like I'd like one more piece of furniture before we begin building out the walls. Let's work on this little n table. I'd like to put it right here. Then what I plan on doing is building out the walls, the floors, the ceiling, kind of get a sense of how we want the room to be, any windows, etc. Then once we do that, we may need to add a couple of more accessories, maybe another wall table or a sofa table behind there. There may be other things that we need to add after this, but let's just go ahead and get this one in place and then we'll begin working on the room itself. It looks to me like I need to name these. Let's call these. Well, we've already called the other one, a desk chair. Let's call the side chairs SlideShare 01 and we'll call this, I'll just press control C, control V and side chair two. Then we'll just take these and drag them into the furniture collection. Now let's hide it all and begin on this once again, I'll spin around so I know where my x is, x axis that is. Then let's begin working on this. I'm going to press Shift a mesh cube, and let's hit the S key and scale that down. And I'll press S z and let's scale this down to about right here. I think I will go ahead and keep it square. I'm going to scale it down a little bit more because I think part of that that I'm seeing is gonna come from this top part here. Let's now split it in half before we do anything else, Control R and I'll hit the Enter key twice, Alt Z, the three key. And let's drag select this and hit Delete and delete faces. And then let's add a mirror modifier here. Turn on clipping and turn on the cage. All right, We've got that. Now let's work on this top part in it looks to me like it's got this curve or bevel on all of the corners, but it's both on this cube piece here and on the top. So we're going to need to do that once we get these pieces in. But first of all, let's just work on this top piece here. Maybe let's just hit E and S and scale out a bit. Let's take a look at the top and see. Yeah, it looks like we should scale out in the x, press the Esc key and the X key and scale out like that. Let's get it. Maybe I'll bring it out like that and then scale it in the y a little bit as well just to bring it out a little bit more. And why? So let's get it about like that because we're going to need to put these pieces onto and they're going to take up some room under there as well. We can always bring it back in if we need to. I'll hit the E key and bring that up. And let's get it maybe right about here. Now that we have that, Let's work on these little pieces here that connect with the legs. I'm going to hit the one key on the numpad. You go to the front view. And I feel like this is a little too high now. Maybe something like this. And once again, we're going to be adjusting this at every stage in the process. From here, list press Shift a mesh cube, and I'll take this down to maybe 0.1. Let's do that. Maybe scale it up a bit. Now, hit the G key and I'm gonna move it up into here. Let's put it right into here. Let's say hit the period key. And we need to pull this out in the y-axis. Now, let's get it about where we think it should be. Maybe I'm gonna bring it out like this and like this. And it's up pretty good right up in here. Let's tab into edit mode and take this face and let's drag it down just below here. Now let's take a look at that. Yeah, I think that looks pretty good. All right. Let's take it and duplicate it here in the back. I press the three key to go to the side view. And then let's press Shift D Y and bring this back like this. Let's take a look here. That looks okay, I think then what we can do is take these two here and join them with this main object. And when we do that, they will automatically mirror over to the other side because this has a mirror modifier on it. So let's select those to select this control J. And there we go. All right, now let's zoom in here. These have little bevels here on the corners. But I'm a little afraid of what's going to happen if I try and Bevel the corners on the bottom and then try and Bevel the edge on the outside here. I don't think that'll work real well. So what I'm gonna do is go ahead and Bevel the outside. And then we'll deal with the little pebbles in here by just extruding and scaling. So a little bit different than we've done before. I'm gonna tab into edit mode. Let's select this edge and this edge and this and this. And let's then bevel this here. Let's press Control B and pull out. I'll scroll the mouse wheel a bit. And let's get ourselves a nice curve here that we think will work. Maybe something like this. I will go ahead and smooth it here in object mode, and that looks absolutely terrible. So let's go over to our object data properties and turn on auto smooth. And that cleans it up pretty well. All right, now let's think about a couple of these bevels right in here. I think what I want to do is just select this face here and this face. And let's turn on individual origins. So I'm gonna hit the period key and come down here to individual origins. So what we do happens independently to each one. To get this little indentation bevel, whatever you want to call it there. I'm just going to hit the E key and scale down just a bit. Then I'm gonna hit the S key and scale in. We have just something kind of like this. Let's see how this works. Yeah, that's just kind of all I wanted to just that little bit. It gives us since that those corners are beveled, but it's not quite the same. I know, but I think it works pretty well. All right. How about up here? I feel like we've got a couple of bevels up here that we could do. Let's hit the two key and press Alt click and Alt Shift click these two. And then let's press Control B and let's see what we can do. We don't need as many edges here. Let me scroll out. Oh, and look how it's kind of flat. I think we need to apply our scale here. Let's hit Escape and tab into object mode, and let's hit the N key. With this object selected, I'll press Control a and apply the scale. And now they're all ones over here. That's good. Let's tab back into edit mode. And with these edges still selected list press Control B. See how this works. Yeah, they're coming out a little bit better now. A little more uniform. I don't need a whole lot here. Maybe I'll just go like this. There we go in when I did this, look at this here, we've got kind of an artifact there on that face. Let's hit the three key and select that face. And I'm wondering if a little inset will help with that. Let's see. I'm gonna hit the I key and instead in just a bit, Let's hit the B key to turn off border. We can't go in too far because of that bevel there. But if we go to about right there. Yeah, that really clean that up. That's pretty nice. Now let's work on the drawer here. If we select our object and tab back into edit mode, Let's select this face here. And let's inset this in just a little bit like this. Let's hit the I key and inset in just a little bit. And we can see on the top and bottom It's coming in but not on the sides and that's okay because we can just go ahead and then hit S and X and scale in from the sides here and bring those in just a little bit like that. Let's do that. And now let's bring them out. Let's hit E and bring this out some. And then I'll scale in or inset in, I should say, Let's hit, I bring this in just a little bit. And maybe what I'll do is pull this out. I'm gonna pull this out just a little bit so we get just an angle there, right there. Then let's insert. And again, I bring this in like about like this. Maybe. Let's do that. And then let's do that again. Let's hit E this time, pull out some, and then let's hit S and scale in just a little bit. And maybe I'll scale specifically in the z. Here we go. And maybe the x, Sx, bring that in just a little bit. There. We've got the drawer, so that's pretty good. Maybe I'll take this face and take it back in just a little bit. I feel like it may be a little bit too far. There we go. Alright, in the next video, well, Let's do is work on the legs, this shelf here. And also we can go cannibalize that drawer, pull that we created for the wall table. We can go duplicate that and bring it over and put it in here. And I don't think anyone would ever notice that's coming up next. 35. 035 Completing the End Table: Taking another look at this, I feel like this is a little bit too thin compared to how tall this is. So I'm just going to go to the front view with the one key on the numpad and tab into edit mode. And then I'll hit the one key on the keyboard. And let's go to x-ray mode with Alt Z. And I'm just going to drag select this area and pull it down just a little bit like this. I feel like it's just a little bit thicker there. Let's try that. Yeah. Okay. I think that helps. Now let's work on one of these legs here. I'll go to the front view and let's begin with a cylinder. Shift a mesh cylinder. I'll take it down to 16 sides and I'll just type in 0.1.2 for the radius and the depth. We can scale it down. So I can also take away this face on the top to lead faces. Then let's just hit the G key here in the front view. And I'm going to zoom in and scale down Sam and I'm just looking for let me go over here. Here we go. I'm just looking at this right here that little bit right there. Maybe it's about this big, something like that. And then if we tab into edit mode and go to x-ray and grab these points here. Maybe I'll just bring them up like this. And we can start creating this area here. First of all, let's just hit E key and S, and let's just begin continuing to do this to get these various pieces. Maybe something like this. And then I'll begin scaling in some, something like that. Maybe feel like they could go out a little bit more. Let me grab these and hit the S key and Shift Z and kind of pull them out just a little bit. So you can of course readjust as you go. As we always do. There we go. Something like that. Maybe from here I'm going to go straight down, I think just hit E and pulled down and then let's get this larger one here. So once again, E and S. Then I'll come down a bit like this. Then come out again with that larger piece. I'm just once again hitting E and S. Then coming back and readjusting wherever you need to. Maybe something like this. Let's say maybe I'll grab these two with Alt Shift click and move them up a bit. And maybe scale out just a bit there. There we go, I think something like that. And then we could maybe come straight down like this and get this piece here. These out like this. I don't think it needs to go out as far as the others. Maybe something about like this. Let's try that. Now. What we could do is just take this pretty much straight down. There's a slight curve, but I don't know that we really need to deal with that. Now looking at this, I feel like it's a little too big. So I'm just going to select the whole thing and scale it down some and bring it in. Let's see how that looks. Still to me, it looks a little too big. So what I'm gonna do is press S and Shift Z, keeping the height while bringing this in some like that. Let's bring it forward. That would probably be a good thing to do. Bring it into here. All right, Let's begin again here. And let's hit E and just bring this straight down to about where we think it might be. And I'm gonna hit the S key and scale in. We go and it looks like there's one piece here before we get to that shelf. So I'll do that ES and hold down some kind of like this. I'll get maybe one of those in there like that. Then that's where that little panels gonna go. Then I think I'll just go ahead and pull it straight down and do that one. So let's hit E and pull down to here. Then let's just do another one here. Something like this. Then we could just pull straight down. I think I'm going to take this and move it up a bit. Then I'll just hit E, pull down and then scale in a bit. Let's see how this worked. I think proportionally That's not bad. I still feel like that top part isn't quite big enough here. I'm not sure exactly what I can do about it. Let me take this and maybe de-select this with Alt Shift and click and then scale this back up. Move it up a bit. Something like this. Let us select that whole thing and bring it down like this. Alright, let's try that. Yeah, okay. Then what I'll do is duplicate it and bring it back to the backside here. So Shift D y and let's put that right back here. I think from here we could just take these two and add it to this piece. And since it's mirrored over in the first place, these will mirror over as well. So let's select this one, press Control J, and there we go. Let's smooth everything. Actually I have to select it first and then hit Smooth. There we go. Then I feel like it's a little bit too low, but with everything now altogether, we can tab into edit mode and play with the size and scale of it. So maybe I take all of this and move it up just a bit. We could try that and maybe take these and move these up, just a smudge. Now let's put a shelf there. I may have dragged that up too much, but let's see. I'll press Shift a mesh cube. Let's go to the front view. I'll bring it up. I'll scale it down in the Z until we get it about the way we want it. And then let's scale it out in the x and the y. So I'll press Shift Z so we don't scale in the z and I'll bring this out to about right here. Let's bring it down a bit. Now. Is that too thick? Kind of feel like it is. I'll select this press S and Z, and let's scale it down here. We could move this up a bit there. Alright, I think that's overall looking pretty good. So now what Let's do is give these corners here a bit of a curve with a bevel. We've got our scale here is quite a bit off or non-uniform. So let's deal with this. I'll select this piece, press Control a and apply to scale. So now they're all ones. And then if we tab into edit mode, and I'm gonna go ahead and select all of these since we don't have a mirror on this currently, I'm gonna go ahead and select all four. I'll press Control B. And let's pull out to about here and I'll scroll the mouse wheel. Let's try symptom like this. See how that works. All right, I'll smooth it. Turn on auto smooth, that does pretty well. It's also bevel these edges here, this and this. And let's press Control B and pull these out. We don't need as many edges, so I'll scroll the mouse wheel a bit. And let's go with that. Let's try that. Yeah, I think that's pretty good. Then as I mentioned, what we can also do is cannibalize our drawer, pull from another piece of furniture. So let's bring back the furniture here. Let's go over to this wall table. I'll hit the period key on the numpad to zoom in. And let's tab into edit mode. And what I wanna do is just press the L key and select all the pieces of this drawer pull. And then I'm going to press shift D Enter, and I'm going to drag it out in the x-axis. And then I'm gonna hit the P key and separate by selection. There we go. Now we've got this piece that we can use on our table. Now, let's pull it out of the furniture collection. So when we hide the furniture, we don't hide it. With this selected. We can move this from one collection to another by just pressing the M key. And now we can move this to any one of our collections. So I'm gonna move it to the main scene collection here, and now it pops out here. And let's just call this drawer pull for the time being. Then when we hide the furniture again, there it is. All right, so let's move our origin to the geometry of this. I'll go to Object Set Origin, origin to geometry in there it is. Now, let's bring it over. We're going to need to turn it. Let me scale it up quite a bit here so we can see it. And then I'll turn it in the z-axis here in the top view. But if you aren't, you can always press RZ 90 and that'll turn that there. Let's go to the front view, z and wireframe. And I'll hit the G key and move this kind of into here. Now I feel like I want to center this a little bit better, although it's not bad, I'm really close to that center line. And I think all I need to do is just 0 out the x axis here. I can click and drag and you can see I can move it. But if I click in there and press 0 and hit Enter, now it's in the center of the grid. Let's press Z and then go to solid. And let's drag this back and put it on here. I hit the period key. Let's drag this back just a bit. And let's see where we want it to be. Maybe I'll scale it down just a bit, pull it down a little bit like that. Maybe scale it up just a little bit. Alright, let's try that. So what let's do now is combine everything, but we need to take a look at the modifiers to see what we can do here. So I'm gonna select this piece here, and this has a mirror modifier. So let's go ahead and apply that. Then it looks like this does not and this does not. So let's select everything here. Let's press Control J and combine everything. Then with the cursor in the middle of the grid. Let's go ahead and move the origin of the object to their origin to 3D cursor. Now we can scale from that point. Now the way I combined it, the drawer pull was the last thing I selected. So that's the name we got. I'm gonna change this to interval. Then let's put it in place. Let's bring it over here. Maybe I'll hit the seven key to go to the top view. Let's bring it over here and scale it down. Maybe in here like this. Let's try this. That's a little too big and I think I wanted to draw your facing out either in the back or to the side. Either way is fine. I'm going to press R z 90 and just spin it around there. Maybe it needs to be a little bit smaller here. Let's try that. Let's, let's bring back our character reference objects. So I'll bring him in, select them and bring them over here. What do we think? Maybe just a little bit smaller, Something like that. Alright, let me hide him again. There we go. I think that's pretty good little piece to have as we populate this room. Yes. So there we go. We've got our table, I'll drag it into the furniture collection, and there we go. So in the next section, we'll begin working on building the room around the furniture that we have. 36. 036 Using Walk Navigation: Well, let's I've mentioned I think we're to the point where we can begin blocking out the room and then kind of see what else we might need. So let's just begin with the floor. Let's just press Shift a match cube. Let's just scale this in the Z, s and z. One thing about creating walls and floors is I think it's really better to have some thickness to them instead of just using a polygon plane. Because once you begin putting the lights in and begin rendering the scene, you can find that there's light leaks and problems with shadows if you're just using polygon planes. So that's why I'm creating the floors and the walls here with some thickness. Alright, so I'm gonna go to the top view with the seven key on the numpad and on press Sx. And let's just start trying to figure out how big this room should be. So I'm going to go out like that. Yes. And why? Maybe come out like this? What about something like this? Yeah, that's not bad. Maybe a little bit wider like this. I don't know that we need it to be quite this deep. I'm going to tab into edit mode and select this. It's down here. Just kind of pull it in a bit. This is just kind of blocking in the scene, blocking in where we think things might be. Now from here actually, these don't need to be quite as close together. Now we could select all of these and just move them out like this, give it some breathing room here. I think something like this. Maybe let me grab these and move these in. This is how I get a sense of what the scene is gonna be, what the structure of the room may be here. Yeah, I think that's pretty good. One thing we could do is actually come in here. We could use a blenders walk navigation to kind of walk around the scene and see how it looks or see how it feels. But there's a couple of things we need to do before we can begin walking around. And one is to come up here to Edit Preferences. And if we go to navigation, you can see you've got this fly and walk navigation. And what I like to do is turn on gravity here. I've changed the view height to 1.7 meters. I think it's usually 1.6 meters. So I've changed that here. The reason why is, let me close this and I'll bring back that reference figure. And let me zoom in here. And if I hit the N key, you can see that he's 1.8 meters tall and the eyes are about 1.7. And that's what that walk navigation that field here under gravity is saying that this is exactly how high above the ground floor or above the object you're walking on, the camera is going to be. Now that we've done that, I'm gonna close that. We can also come over here to the View tab here in this panel. And if we go to view, we can see that the focal length of our Viewport here is 50 millimeters and that's just a good standard view. But to walk around, it's a little bit better to have a wider point of view. So I'm just going to change this at least temporarily to Thirty-five millimeters here and you can see it got a little wider. Alright, so now if I hit the N key to close that panel, and if I come up here to View, and come down here to navigation, and we can choose walk navigation, then move the mouse a bit and we dropped down to the floor underneath us. Now we can move around using the WASD keys on the keyboard, just like we were in a video game. So I can hit the W key and move around here. And you can see in my keyboard display the endless line of w's there, but that's okay. We can walk around and just take a look at the furniture in our scene, how far apart they are, etc. By just walking around, kind of like it was a video game. So this can be really helpful just to get a sense of the proportion and the size of the room here. Now once you're done, you can just hit Escape. There we go. One thing I will say is that if you're off here away from an object and you go to View Navigation and walk navigation, you just drop right down and once again you can hit the escape key. Now the shortcut for this walk navigation is Shift and the tilde key. The tilde key is the key above the Tab key. And next to the one key. If I press Shift tilde and move the mouse, I'll drop down to the floor and then I can move around once again. Alright, I'll hit the escape key. Now let's add a wall or two, I think for the back here, let me open up one of our reference images here. If we look at this one here, you can see that it's got this indentation here, and I think there's this window seat in front of these windows as well. So I'd like to get something like this. What I will do, Let's first of all create another cube, shift a mesh cube, and I'll bring it back here. I'll hit the three key on the numpad. I'll hit G and move it up. It's sitting on the grid there. And then what I'll do is I'll just press S and scale it in the y-axis. We get a little bit of thickness there. Then let's scale out in the x to come out here like this. I'll tab into edit mode and hit the three key and then pull that up. I'm not really sure how tall this should be yet, but this ceiling is actually pretty tall. From here. What I'm gonna do is just insert an edge loop down the center and hit Enter two times. And then just like we've done before, hit the three key, press Alt Z and then select one side and delete faces, and then add a mirror modifier. I'll turn on clipping and turn on the cage. Then what Let's do is let's add edge loops to kind of delineate this area. So if I press Control R, maybe we could add an edge loop here. And let's press Control R again and maybe add an edge loop here. Then let's take all of these faces here. I'll press the three key and Alt click between two of these faces here, and then let's just pull this back and see what happens here. Yeah, so something like that. I'm going to press Sx and scale out just a bit. I'm just trying to get a sense of what we'd need for this area in here. I feel like they come out some here from the windows. So maybe if we tapped into edit mode and selected this face and hit E and pulled out some. We could get this area right here. Let's try that. All right, and then we could of course just take this floor tab into edit mode and pull this back just to cover that on the floor. Then, well, let's just create another cube here. Shift a mesh cube and we'll just bring this back like this. This is gonna be just blocking in that window seat there. Let me just take this and move it down a bit and then scale in the x and pull this out like this. You can see we're kind of getting a window seat here. Maybe pull this forward. Pull it down a bit. Let's take our reference figure and pull them out over here. Let's turn them around our z 180. And it feels like that's a little bit too tall now. So I'll bring this down a bit like that. Yes. So we've just got kind of a window seat there. It's kind of too deep. I think. I'm just going to Alt click between two faces to select that whole face loop there and then bring it forward just a bit like that. I'm just using these basic shapes to block out what I think might work for me here. Yeah, once again, I'll press Shift tilde, move the mouse, and then hit the W key and kind of walk over here and just take a look at this. Is this about the height? I would think that a window seat would be yeah, I think so. Turn around here. Hit Escape. Yeah. I think that's okay. I feel like now that these pieces are a little bit too big, I'm just going to hit the S key and scale it down just a little bit. Then I also think I'm gonna take one of these and scale it down. Just hit the S key and scale it down just a little bit. Hit the delete key there to get rid of that one and then shift dx, move it over RZ, put that back there. I'm just still even now working out the proportions. All right. So I think we've got a good beginning to our room here. In the next video, we'll continue putting up the walls. 37. 037 Blocking In the Walls and Panels: The next thing let's do is add some walls here just to see what it looks like. Before I do, maybe let's change the name of this. We'll just call it floor so we know what that is. I'm just going to change the name of this cube here, call it window seat, just so I know what things are. As we move forward. This may change and we may add or subtract objects, but just to kind of get a sense of what things are currently. So this one I'll just call window wall. And then let's create another cube and move it over. And let's begin working on this as a wall here. I'll just scale it in the X a bit and hit the G key and move it up and put it right in here. Kind of get it on that red line there, and then I'll scale it out in the y. Bring it out about like this. And then I'll just begin grabbing faces and bring it out like this. Maybe bring it up about like that. So once again, this is all pretty rough just to see how it's going to fit in here. Alright, let's go with that and let's also just take it and duplicate it. I'll hit the seven key on the numpad to go to the top view. And let's just press Shift dx and move it over here a bit. And let's take a look at it now. How does this feel? I'll press Shift tilde, move the mouse will drop down and I'll just walk around here. Kind of take a look around. I think this is beginning to feel okay. I feel like it's a little bit too thin, like the walls are a little bit too close. I'll hit Escape and let me move these out just a bit. See if this helps any like this. I'll take this and scale it out in the x. And once again, this is just me trying to figure out what the room's going to be like. That's all. Maybe I'll grab this and move this over here. All right, then let me take these here, select these faces and just move them out as well. All right, let's go back in. I will press Shift tilde, move the mouse we dropped down. Let's move around here. Yeah, I feel like it needed a little bit more width to it if I move back here, what do we think? Yeah, I think that's pretty good. Let's take these real quick and just move these back towards the wall. All right, so let's go with that. Once again, these can be moved at any point in time. That's the nice part about keeping all the walls and the floors fairly module. You can move them around as needed. Now, there's these pillars here, these things right here in the walls. And it looks like they'd go around the room. And I think I'd like to put some on either side of the room here. I'd like to try and get them evenly spaced. And do you recall when we were creating the side share with the ornate legs, how we clicked and dragged in the array modifier in the x field and spread those little barrels apart. But we can use that same functionality here of the array modifier to place these columns evenly along the wall. Let's first of all just create another cube. And let's scale it down quite a bit. And maybe I'll scale on the x. And let's just see about putting this in here. Hit the period key again. And let's move this over to a wall like this and move this over. And I just want to try and get something that looks kind of like this right there. Maybe I'll pull it in a bit. Maybe it's not quite that wide, something like that. I'll just take this down to the floor here and then tab into edit mode and select this face and just take it all the way up. Once again, I'm having it be a separate piece just to keep it modular so I can move things around. Now let's take this and let's add an array modifier to it here. Notice that if I add these and click and drag in the x-axis and this x field here it goes this way. What Let's do is let 0 this out here and type one. In the y field and now it goes in the y-axis. And then we can click on this white field and spread them apart. Now you can see we can get them fairly evenly spaced. And let me scale in the y just a bit so they are a little bit farther out or a little bit wider. I'll pull them back in some. Once again, just trying to get the basic structure of this. What do you think about that that's pretty evenly spaced. I would think. And I'm thinking about maybe putting a window here. You can see that here. But maybe just with curtains, you can see there are curtains here. I'm wondering if I could just put curtains here. And over here as if there are windows there and only have this wall here, have actual windows with light coming in. Well, now that we've got these, I guess we could go ahead and just duplicate these and take them over to the other side. I'm going to hit the Z key and go to wireframe. And then I'll press Shift dx and take these over here. Like that. All right, let's take a look. Alright, so what I'm gonna do once again is come in here, pressed if tilde, move the mouse dropped down to the floor. And I'll walk around and take a look here. I feel like these may be too far out sticking too far out from the wall. Well, although that's not bad. Yeah, actually, I think that's pretty good. I will walk around here and just take a look from this angle here. Yeah, okay. I'm gonna hit the Escape key. And then I'll grab these and let's just move these over d inside here. Then also we want to think about how we're going to get this panel here, these lines, the squares on the wall. I think what I'd like to do is use a polygon plane and fit that in here and give it a try. So let's just press Shift a mesh plane, and I'm gonna give this a try. Let's see how it works. Ry and I'll press control and hold the Control key down as I spin and I'm gonna rotate it 90 degrees. Then I'm going to go to the side view with the three key and hit the Z key and go to wireframe. And I'm going to bring this in here. I want to fit it inside here just to see if this is gonna work. I'm gonna move this out like this. I'll tab into edit mode and grab these points and move them down to here. Then what I'd like to do, let me move this over. Go back to Solid View and it looks like there are four panels here. So I'm going to put four or three cuts to make four sections here. Then I'll put horizontal cuts until they're about square. Well, there are a little bit taller than they are wide, aren't they? So maybe something like this. Now what I'll do is go to edge mode and I'm going to hit the a key and then I'm going to press Alt Shift and deselect the edges all the way around the outside. I don't think they'd bevel anyway, but I just want to make sure then I'm gonna hit the N key and object mode. And under item here, I'm going to ensure that the scale is all ones. It's not quite. So I'm going to press Control a and apply the scale here. Then with these edges selected, I'm going to press Control B and beveled these out some. So now you can see we're getting the borders around those panels here, something like this. Then it looks like I'm gonna need a border all the way around as well. So I think what I should do is scale it down a bit. Let me tab back into object mode and get it back over here where it was. I'm just going to scale it down just enough to add a border around the outside. So I'll hit the S key and I'm going to scale it down like this. Then I'm going to add a border around it. If I tap back into edit mode and select each of these edges all the way around. Now I'll hit E, S, and let's scale these out. This. Then like this with the y-axis like that. Alright. Now, now we should have something that we can extrude out. So I'll select these faces here. I'm pressing Alt and Shift and clicking between two faces. So I got to click here and click again, and click again. Now let's just extrude these out. I'll hit E and pull out. There you go. Maybe a little bit farther like that. Then I'm gonna go through and select each one of these and delete them because we don't need them. And they might just get in the way at some point in time. So I'll delete these, delete faces. And then we could also select these again. All right, so we've just got the front faces selected. I'm now going to just inset these. And before I do, I want to make sure that I've got individual origins selected. I'll hit the I key and inset these just a little bit. And then I'm gonna pull them forward. Just a tad. Maybe I'll just hit G and X and then hold the Shift key and pull out like this. So we get a bit of a ridge. There. We go. Let's try that. Let's try and put it in place here and see what we think. See if this will actually work for the rest of the room. Spin it around. Let's move this into the wall. Yes. So we're just beginning to get this kind of pattern on the wall. That's kind of nice. Actually let me press shift D y and move it over here and just see if we can fit these in here. Alright, so I think that'll probably work. That'll probably be our strategy going forward for creating these kinds of panels. All right, in the next video, I'd like to maybe work on this wall. And I think what I want is we've got one of these in here with a fireplace. Let me take a look at this. Yeah, right here. I'd like to try and build a fireplace like this. On the wall opposite the windows there. A fireplace and a doorway here. Let's work on that coming up next. 38. 038 Modeling Mantel of the Fireplace: To start working on this fireplace, I think I want to hide everything here, but I also want to do a little bit of organizing first. Never fear we will get back to working on these panels here, but I'd like to get the room pretty much set up before I begin inserting these all the way around. This was just a prototype to see if it's going to work and I think it will. But I'd like to go ahead and move on to this piece now to hide everything or I guess to organize things. Let's first of all hide the furniture and the reference figure. And then let's just select everything in the scene with the a key. Then what I'm gonna do is use the M key, M for move to collection and create a new collection. And let's just call this room. And I'll click OK. And there we go. Now we've got this new collection over here with everything that we've created for the room in it. And I'll just twirl that up and I'll just hide it here like that. We haven't gone through and named everything in that collection yet because I'm not quite sure what we're going to keep and what we aren't. But I just wanted to get it organized a little bit better while we work on the fireplace. Alright, so for this, I think what I'm gonna do is begin with this mantle piece. And this is a pretty big, pretty sizable piece in the room. You can tell by this here I'm going to press Control Space bar. You can tell by this suit of armor over here in the corner that the height of a person is right about here. So this is actually pretty tall, a pretty big piece that's gonna be kind of central interest in the room. Let's just going to get this in place here. And as I said, let's begin with this mantle piece. I'll just press Shift a mesh cube and I'll hit the one on the numpad. And let's just bring this up. Let's scale in the z. Let's just try and get this bottom part right here before all the little decorative pieces on top here. Let's bring this up. Maybe I'll scale it in the x just a bit. Maybe a little more. I'm just trying to get the proportion of how tall to how wide. Fairly close here. And of course it's going to be up kind of like this. Let's go with this. Let's say this is about what we want here. All right, I will hit the N key and take a look at the scale o. And also we need to bring it in on this side as well. Let me press SY and scale that and we don't really know yet how far out from the wall we want it, but I think this will be fine right here. Then let's go ahead and apply our scale. So we have all ones in the scale fields. I'll press Control a and apply the scale. Then from here, let's begin working on these little pieces here. Now it's really hard to tell what it is we're trying to create here. So we're going to have to be fairly imaginative. I think. I'm going to tab into edit mode and just select this one face. I could split it down the middle and mirror this, but I don't think we need to if we're just gonna be doing extrusions and scales and insects, etc. To begin with, let's just hit D S and scale out a bit. And let's see how the scale, even though we apply in our scale, it's still not scaling out in the y simply because it's so long and thin. So let's pull that out in the y just a bit. Then let's hit E and extrude that up. And then it looks like we're going to need another one. So E, S, and let's scale this out. Once again hit SY and scale out in the y to try and get it fairly uniform. There we go. Let's hit E and pull up a little more here. Then this top piece, it seems to me it just kind of angles out. So let's just hit E and S, and let's scale out here to try and get it uniform. And I'm going to scale it out quite a bit like this. And hit S and Y and scale it up to try and get it to be about the right size there. Then I'm just going to pull it up. Pull it up like this. There we go. Now that may be a little bit too much. I'll hit the S key and scale in a bit. And maybe I'll scale out in the y just a little bit like that. All right. Let's take a look at that. Yes. So I think that's pretty good. They're also on the top. I'll just extrude this up just a little bit here like this. We go. And then what else do we want to do here? I think I'd like to add something along this top angled part. It seems to me like there's something going on there. So we could add a few ridges to this so we could press Control R. And maybe let's scroll the mouse wheel and let's add. For cuts like that. Then what I'll do is I'll actually bevel these. I'll press Control B and pull these out like this. They're fairly even apart like that. And then what I can do is select every other one like this. And then scale in, hit the S key. Scale in a bit like this. There we go. Let's take a look at this. Yeah, it looks like we need a little more here. Sy, hold the Shift key down. I'm just trying to get them so they're kind of straight up and down here. Like that. Maybe we could also take this edge here all the way around. Let me select this over here. Then. Let's bevel this. I'll press Control B. Scroll the mouse wheel a bit, hold the Shift key. Let's bring that like that. We have just a little bit of something going on there. And then do we want to do that with either of these? Well, I think maybe not right now, maybe let's wait on that. Now one thing you may be thinking is, is why is all this on the back when it's just gonna be right up against the wall and we aren't going to see it. Well, that's true. I mean, we could just push this into the wall, have an intersect the wall, and no one would ever see this. But either way, what I like to do is leave it till the end. And I think it's a whole lot easier because all you have to do now, I'll tab into edit mode and I'll hit the one key. And then we can press Alt Z to go to x-ray mode, or we could press Shift Z to go to wireframe. So either way works. We've been using alt Z, but Shift Z works just as well. What I'm gonna do is just select all of these here in the back and then hit Delete and delete faces. Now that's just empty. And what we can do back in the side view with the three key on the numpad. We can select these all again and scale them in the y so they're flat. So if I press SY and I begin pushing the mouse and you can see that this is beginning to flatten that up. And if you look in the upper left-hand corner of the interface, you can see that the scale is one and then 0.8.7 and it's moving toward 0. Well, what we can do is we can just go straight to 0 by typing in zeros. So we hit 0 and it's flat, and then we hit the Enter key, and there we go. Now if I press Shift Z to come out of that, we've got that flattened there. You can move this however far in or out that you need it once you get it up against the wall. All right, so there is the mantle piece for our fireplace. In the next video, let's work on these pillars on either side of the fireplace. 39. 039 Continuing the Fireplace: Well, if we had to use our imaginations a bit for the mantle, it looks like we're really going to have to use our imagination for these pedestals on either side. We just don't have any images of what they look like on the bottom. On the bottom, I'm just going to try and make them look similar to the top. Maybe we can throw in our own personal flare the hair, I don't know. But let's work on this now. I'm gonna go to the front view with numpad one. And once again, let's begin with a cube. I'll scale this down and let's get it up here. And I think I want to just begin with this piece right here and work my way down there. So I'll scale out just a bit. Maybe something like that. I'll tab into edit mode, I'll press Shift Z. And let's bring this up from here. Let's just begin extruding down. So it looks to me like there's an angle here. Question mark. It's kind of hard to see, but I'll go ahead and press S and scale in a bit. Maybe I'll bring this whole thing up a little bit more like that and drag these down just a bit. And then I'll get this piece here. So it looks like to me, and of course, whatever you want to do here is fine, but I think I'm going to press S and scale out a bit here and then bring it straight down for this right here. I'm gonna go like this. Then let's hit I to n set. Then E to pull down. Then I'm going to I think hit again and pull down and then scale in like this here. And then E again to get this little piece. Now I'm gonna have to hit E and S and scale out a bit. Looks like quite a bit like this. Then let's begin bringing these down. I think I'm going to scale them in a bit. Then maybe hit E and S and bring it straight down and I bring that in a bit. So really as I said, we're gonna have to be just a little creative here. Maybe add our own flair here and there. All right, from here I think I'm going to just extrude and pull straight down. Then I'll kind of angle it in semi. It looks to me like it's kind of angled in. It's hard to tell. So I'm just going to hit E and pull down like this. And then I'm going to scale this in just a little bit like that. I feel like they look like they kind of angle in a bit. And then down here, let's add some sort of base to this down here that's somewhat reminiscent of the top. So I'm just going to hit ES and pull out an e and just make some things here that might work like this. Maybe I'll inset in just a bit and pull down again like this. Maybe one more time actually, that isn't too bad. Then I'm gonna hit E and S and scale out this. Have it be substantial there at the bottom. Maybe one more ES, pull out an e and bring that all the way down, something like that. I'm going to press Shift Z there and let's see about this. All right, a couple of things jump out at me. First of all, I don't think this is high enough. I think this needs to come up more. Which to me says that this needs to then come up more. So maybe this and I'm gonna hit the S key and scale that out just a bit. Bring it up. Then let's see here. And then I'm gonna hit the a key and bring it in. There just may be some modifications you need to do for this. I feel like this whole part right here for me on mine should be a little bit taller, so I'm going to just scale it in the z and then pull it down and put it back there. Shift Z to go back to Solid mode. So you can kind of see where we're going with that. Let's now go to the side view. And I'll bring this up like this, kind of get these so they connect a little bit better. All right, let's take a look here. So I think that's pretty good. However, I feel like now that this piece up top isn't tall enough, so I'm going to scale in the z here, pull that up some. As we've said before, there's always room to adjust to proportions and scale on your objects as you're creating them. Once again, I think I will take this and delete those on the back, just like we did up front here or up on the mantle. So I'll go to the side view and then press Shift Z tab into edit mode. And in vertex mode, I think I will just. Take all of these, press S, Y 0, that flattens everything. Then I'm gonna hit Delete and delete faces. And there we go. So now we've got this area flat like the top, so we can then adjust this however we need to once we get the walls in, once we get it set up against the wall there. Alright. It's not exactly the way it is here, but I think it's pretty good. I think it's got a good weight and is fairly substantial there. So let's go ahead and mirror this over. Move the origin of this object to the center of the grid by going to Object Set Origin, origin to 3D cursor. And then let's go ahead and mirror this over. Here. I'll turn on the cage. And I'm using the mirror modifier in case there are things I wanted to change here as we move forward. If I just use Control M, the mirror tool, then I'd have to delete and duplicate and mirror over again every time I made a change. Now let's get this piece right in the middle here. I think that's just another cube. Here. Let's press the one key. I'll press Shift Z again, and let's bring this up. Maybe scale it in the z, scale it in the X. And let's now see how far we want to put it in. I'll scale it in the why. How far end do we think that is? I'm thinking something like this. Maybe a little bit more, maybe a little bit farther back. It's hard to tell, but I can go ahead and put that in there. Now we don't need the back face here. I'll delete that. I could also just take that edge and bring it in something like this. I wanted just to clean that up in the back, although known as ever going to see that there. Now let's get this edge. It looks like there's a frame or something around this right here. So I think what I'll do is first of all, select this face on top here. Let's get this here, and I'll bring it down. So it's fairly close to that right there. Then let's tab into edit mode and select that face there. Let's hit the I key, and let's insert this in a bit, something like this, and then I'll press S to bring this in. It looks like it goes to about right there. Then I think I just want to bevel that and pull it out. Let's see, I'll scale that in a bit. So now I'll hit the two key. So we're just selecting those edges and let's press Control B. Bevel that out. Oh, and it's not beveling on the top because I bet we tap into object mode. Yeah, our scale is pretty far off, so let's undo this real quick. Before we do that bevel, Let's tab into object mode and press Control a and apply the scale. And then let's see if that helps our bevel a little bit. Let's press Control B again, then pull out and it helps a little, you know, what I'll do is just grab that edge here and that edge here and press S. Scale that up a bit. However, look at where I am at individual origins instead of median points. So let's try that again. There we go. Now with median point networks a little bit better. Then what I'll do is Alt click between two faces to select that whole face loop. And let's just hit E and pull out a bit like that. And I feel like it's rounded just a bit. And that's way too far out. So let me pull that back. Then what I'll do is insert an edge loop in there like this. Let's pull that edge loop out just a bit like we've done before. And then let's press Control B. Pull that out, scroll the mouse wheel, some endless, just add a little bit of a curve to that. There we go. That's probably something that no one will ever see, but I'll know it's there. Alright, and then we could maybe extrude some in for these panels on the pillars. So do we want panels? We could do that here and here. Do we also wanted on the inside? Can't really tell here, but we could do it, we could try it. What I'll do is I'll tab into object mode and apply the scale here just in case that might help. Then I think we're probably going to have to do these individually, because even with individual origins, It's gonna see these three faces as all one unit. So let's select the front first. And I'll hit the I key and inset in just a bit like that. If we want to be precise, maybe we could type in 0.04 for the thickness. And then we can take these two over here. Hit I said in and then also type in 0.04 over here. So they're fairly precise. Then we can take these faces here. And if I hit the period key and go to individual origins, now, if we extrude these n with the E key, they will all push in or pull out. There we go, push in the same way. And I don't want to go too far because if we go too far, they're going to overlap each other. I'll just go into the tag just a little tiny bit. There we go. Yeah, there we go. We've got just those kind of panels there. Now there are more intricate designs here. Maybe we'll add something up here, but I don't think I'll go into all this detail on the front of the pillars. But in the next video, what Let's do is let's actually work on the fireplace itself with the hearth. And also the bottom here that will connect with the floor that's coming up next. 40. 040-Using the Boolean Modifier: Now for the actual fireplace part of this right in here, I think what I'd like to do is just create a cube and then create an object to cut this hole, this shape of a hole into that object. I think it's gonna be easier than actually building the whole thing around it. So let's begin with a cube. And I will go to the front view with numpad one. And let's just bring this up. Kind of fit it in here, I'll scale it in the x, so it kind of covers that. And then it looks like it's just behind that across panel right there. So if I maybe bring it back so it's just behind there. Like that. Maybe let's see. A little bit too far back, maybe like this. Let's try that. Yeah. So it's just behind there. I think that'll be fine. I think I think there would be some sort of a base to this marble base on the bottom here that connects it to the floor. So let me just create a new cube here. And let's press, well this time I'll press Alt Z and let's press Z and let's bring this down. And I'm gonna put it right in here and make it about like this maybe, and then scale it out. All right, let's see z. I'll slide that back in. So where would that be? I wonder if he felt like that maybe this is just me imagining how it it could be. I really don't know, I can't see down there. So we're just going to have to kind of make a guess and do what we think looks right? Alright, so now that I've got that, let me bring this piece back up. This time I'll press Shift Z and I'll just bring this up to about right here like that. Now that we have this, we need to create that hole in the fireplace. So to do that, I'm going to create yet a whole other object that we can use to cut that whole. Let's once again create yet another cube and I will bring it forward here. Let's press Shift Z, and I'm going to bring it up. Let's see if we can get this in place. I'm going to drag select these up top. I'm looking at this area here. Maybe this is down like this. How wide should this be? That's a good question. Maybe something like this. And I think also I want it to kind of come up in the middle just a bit. So I'm gonna press Control R and drop an edge right down the center. And I'll drag, select these two points here and then pull them up a bit like that. Yeah, so something like that. However, I feel like that we've got these things right here. You'd see these little ridges are extrusions or something going on across and up and down on either side. What that tells me is I'm gonna need to insert edge loops on this right here. And insert edge loops. You need quads, you need polygons with four signs. And once I cut, once I use this as a cutter to cut that hole in there, the remaining polygons on the front will be in guns or there'll be polygons with more than four sides. So if I'm going to insert edge loops into this to get these, I need to do it now before I do the cut. So with that in mind, let me change the name of this just temporarily so we know what it is. I'll just call it cutter. Then I'm gonna hide it. There we go. Now what I want to do is let's go back to that front view Shift Z. I'm going to select that cube. Oh, I can't do it while I'm in wireframe. There we go. With this. Now, I'll tab into edit mode and press Control R and drop an edge right down the center. And let's then split this here, select these faces, delete faces, and let's give this a mirror modifier. Turn on clipping, turned on the cage so we can see that there now. Now let's add some edge loops that we can use to create these ridges. So I'm going to press Shift Z. I'm going to turn the cutter back on. Now I can see where that fireplace hole is going to be. So now if I press Control R, I can pull these out on either side of that. And then I can press Control R and pull that up just above where that's gonna be. There we go. I've used that cut or shape just to try and figure out where these edges are supposed to be. Now what lists do is select these. I'll press Alt and Shift and click these as well, and lists. Bevel these, so we have faces to extrude out. So I'll press Control B and pull out a bit. And I'll hold the Shift key down and maybe we don't need anything any thicker than that, let's say. Now I want to select these faces and extrude them out. But look at this, all of these phases are selected as well. What Let's do is let's hit the three key. I'll hit the one key to go to vertex mode, and then I'll just press Control and click and drag to de-select all those others. Then if we hit the three key, only these faces will be selected. Now, we can extrude these out just a bit, hit E and pull them out just a little bit like that, let's say. All right, so we've gotten now those little ridges in there. While those polygons, we're still four-sided. Now let's think about the cutter here. For this, I think I want a little bit of a rounded edge here. So let's go back to the front view here. Well, actually it's tab into edit mode and let's select these edges here like this. And then if we go back to the front view and wireframe, we can press Control B and pull these out. And then I'll scroll the mouse wheel and lifts, add edges to this. And I'm going to add, well, let's do this. I've got six edges or segments on there now, I'm going to increase that to eight to make that fairly smooth. And maybe I'll click and drag on the width to bring that down. Some, maybe something like this. Let's go with that. That kind of has that same feel. Alright, so I'll hit the one key and I just want to drag these down just a little bit below the base there. Alright, so now we have our cutter in the right shape. We have our object that we're going to cut into. So what I'd like to do is for the cutter object view that in wireframe. To do that here in object mode, what we can do is just come over here to the object properties. And down in the viewport display, we can then change from display as textured two wire. And now we can see through that. All right, so that's, so that as we do this, we'll be able to see the effect of it in real-time. Now let's select this cube here for the fireplace. Let's go back to our modifiers and let's apply the mirror here. I think we better apply our mirror before we do the Boolean, it might be just a little bit easier. So let's go ahead and pull this down and click Apply. Then let's add a Boolean modifier here. Now we need to put the cutter object into the object field. And one way to do that is just to click on the eyedropper and then hover over the object we wanted to be the cutter and just click there and that adds it into there. Now, if we select this object and then drag it in, look at what happens. We can see in real-time the cut happening into the object there, and that's what we want. Now we can kind of get a sense of how far we need to push this back. How deep is a fireplace? I don't know. It's a pretty big one. Should we go back about like there and you can see that we haven't gone back further than the back of the cube and that's good. We don't want to do that. But how does that look? Should we maybe move it back to about here? Let's say let's hide the cutter just so we can see it now. Yeah, That doesn't look too bad. It looks about like how far a fireplace would be. I think at least something this big. All so what let's do now is let's just apply that Boolean. Go ahead and come over here, click Apply. Let's smooth it. Let's go to Object Data Properties and turn on auto smooth. And that clean that up pretty nicely. One more thing that we could do maybe is we've got these kind of roles on the edge of this. And I don't know that we're going to want to go in and do all of that. But one thing we can do maybe is just select this edge here, alt, click this edge, Alt Shift, click this edge. And then we're gonna have to shift click to deselect these and these. Let me press Shift Z and see if we have anything else selected. Now, that looks pretty good. So with this selected, let's just bevel this and see how it looks. I'll press Control B and let's pull this out. Some got quite a few bevels there and we're having a bit of a problem look in the center, there aren't we? So let me hit the escape key and let's think about why that might be happening. First of all, let's hit the N key and let's apply the scale Control a and apply the scale. Then let's take a look at our face orientation, which way the polygons are facing. So if we come up here to this menu here, the viewport overlays, we have this little guy face orientation. And if we click that, we see blue and we see on the backside we see red and blue is good and red is bad. So it doesn't look like the problem here is face orientation. We could select this and go back into edit mode and try and do this again, Control B and pull out. And it looks like it was the scale now, so that's good. I'll scroll that, click there. Tab back into object mode and then let's turn off face orientation. We're going to want to use this tool to examine all of our other objects to make sure that all the polygons are facing outward, that we don't have any red on the outside and we'll be doing that coming up soon, but I'm gonna go ahead and turn this off. And so we'd go there. We've got our fireplace or hearth are mantle and our pillars. That's pretty good. Let's bring our reference figure in. Let's unhide him. There he is. Bring him out here and see what we think about the size of this. Now, recall that that night was about, went up to about here. So it appears that this is all a little too big. What I'll do is I'm just gonna select this guy and to easily then select everything else. I'm going to press Control I, to invert the selection. I can just select all of that fairly easily. Then I want to scale from the 3D cursor here. So let's hit the period key change to 3D cursor. And then I'm going to scale down. Let's get it. So it's about the right height here. So his head kind of maybe goes right in the center of this panel. Let's try that. Kind of feel like that's about right. Alright, so I think we've got our fireplace there in the next video. Let's put this in the scene and begin thinking about how we're going to create this back wall and doorway. 41. 041 Placing the Fireplace in the Room: Alright, let's now put this fireplace in the room and see how it looks. Now, for many of the other things, I've applied the modifiers and joined it all together. But if we want to make any adjustments to this, we really need to keep it separate. So how do we select it and move it throughout the scene in a reasonable way without having to go through and select each and everything before we do. Well, we can take this and we can create a collection of it, and then we can just select objects from that collection. So first of all, let me hide the figure and then let's just hit the a key and select everything. And then once again, let's hit M and we'll create a new collection and we can just call it fireplace for now. Let's do that. Now whenever we want to select it, all we have to do is just come over here and right-click and choose, Select objects. And now everything in that collection has been selected. So let's now bring back the furniture, the room, and the figure. And let's get this in place so you can see what I mean by if we had to go through and select each individual part of this to try and move it around. It could get old. So let's just right-click on this, choose, Select objects in there we go. Now let's move it over here and let's spin it around. Oh, I'm still using the 3D cursor. You can see that here. So I'll just hit the period key change to median point. And there we go. Now we can spin this around, we can press are 180 and spin it around here. And we can put it right Here. Let's see how that looks. Let's take our character and slide him over here. He's spun around 360 degrees and the z-axis here, we could just type in 180 and each spin around. And let's place them right here next to the fireplace and see what we think. Feel like it's a little big for the room. But before we make any final decisions, Let's take one of these walls and duplicate it. Shift DY. And I will move the origin into the center of this object, set origin, origin to geometry. Then let's turn it once again. We can just type in 90 degrees here in the z field if we wanted. Then I'll go to the top view and let's just hit G and move it over here. And if we wanted to get it exactly in the center, we could come up here to the x-axis and type in 0 and enter. Let's scale it in the x, so we bring it in like that. All right, Now let's take a look at this and see what we think. As I mentioned, I think I'm going to add a doorway and kind of a hallway that we can barely see out here, right here. But for now, let's just see what we think about the size of this. I'm going to press Shift tilde, move the mouse and drop down to the floor and then we'll hit our WASD keys to move around the scene and see what we think. And I feel like it's a little big, even though it looks really big here in the image. I feel like within our room, maybe I'll room isn't quite as big as this room is just not quite right. I feel like it should be a little bit smaller or at least a little bit lower down. What Let's do is let's take these. And once again, this is why we kept everything separate here so we can move these around as we need. I'm going to press Shift Z, grab these and just move these down a bit. Maybe something like that. Maybe that's a little too much, maybe right about there. And then let's take these two objects and move them down. Like this. Let's see how that works. Yeah, actually that's not bad. I feel like that has a better sense of scale in the room. Then the way it was. So let's make sure everything's in place here. I want to bring this down so they connect or at least intersect. There we go. And then let me move the wall or I want to move let me move the fireplace. Once again, I'll right-click on that collection and choose, Select Objects and then I'm gonna move it back till it just begins to intersect with the wall here. There we go. Then of course we're gonna need to get rid of this area here. I just want to see how we're doing. I think that's about what I want there. Once again, we can continue to adjust this as we move forward, I think I will leave these individual objects here in this collection until the very end, until we're pretty much done with the modeling. And before we move on to the UV mapping, I'll keep them separate objects. All right, so let's go ahead and cut the hole out here so we can see inside the fireplace. I'll just select this wall and let's tab into edit mode and I'll press Control R. Let's scroll the mouse wheel and click here. Let's bring these in. Let me hit the two key. I just want to select these edges and these edges here. Press Sx and scale in a bit. So it comes in like that. And then I want to press Control R here and drag down to about right here just so we can get this area blocked out. Alright, so now what we'll do is in edit mode, Let's hit the three key and select this face here and hit Delete and delete faces. And then let's select this face, delete, delete faces, and there we go. So now we can see inside our fireplace, we've just created a hole here. It looks like we could also maybe get rid of this one down here. I'll press Alt Z tab into edit mode. And yeah, we could just delete this face as well. We go. Alright, so we have our fireplace in. I think that's pretty good. What I'd like to do now is try and get a sense of how big this door is going to be. Let's move this guy over here and kind of figuring out how big the door's gonna be. To do this, I want to get rid of the furniture. Let's hide these. If I hide the room, it will hide the fireplace wall and the floor. And I want those to get a sense of how big the door should be. So let's take this wall and this floor, and let's hit the M key and let's move these two are seen collection right there, and that brings these out from those collections. Let's change the name of this to fireplace wall so we know what this is. Alright, and then we can go in and hide the room and just have these objects still in the scene. All right, so now let's figure out how big we think this door should be. One of the problems I have here is I can't just go out and Google the standard height of a door that would be okay for a contemporary setting, but for something like this house or a room built in the late 1600s or so. There really weren't standard door sizes, especially for luxury homes like this. So we're gonna have to kind of eyeball it. I will press Shift a mesh cube and let's try and figure out how big this should be. I'm going to hit the one key and press Shift Z. And so let's bring this up. I'll put it right in here, right about here. Let's say, let's bring this over. Scale it in the x. How big of a door should this be? I'll tab into edit mode and let's just select this face here. And let's bring this up. The door is higher than the mantle piece, so I think we should at least do that. Maybe something like this. It looks pretty big, but I think that's the way they made them then. All right, so let's just see how that is. I'll press Shift Z and let's just take this back. Oh, not the floor. This here. Just take this back and kinda get a sense to set, feel like how big that door should be. Bring back the room and the furniture. What do we think to set feel about right? And like we shouldn't move it over a minute. Yeah, I think that's pretty good. Actually. I feel like it might need to be a little bit thinner and something like that. Alright, so now that we have our door in, we need to create the opening. Whereas I use the Boolean modifier to create the opening here. I think because of inserting edge loops, I'm going to want to keep this wall object, quads, four-sided polygons, so that I can insert edge loops as I need to. If I need to, I'm not really sure if I will, but I don't want to paint myself into a corner as it were by not being able to add edge loops if I need them. In the next video, well, let's do is let's block out the opening of this door and create the trim around the door. And we'll even block in the door as well. That's coming up next. 42. 042 Creating the Door Opening and Hallway: As opposed to the way I did the fireplace here using a Boolean. I think for the door, I better insert edge loops. And let's, let me show you a real quick while tab into edit mode here and maybe select this face right here. And you can see that when I did that Boolean, it created a face here of quite a few sides. So if we come down here to the bottom of the screen, and if you don't see these numbers down here, you can always just right-click and choose what information you want to see down here on the status bar. But if we look at the faces, you can see we have one face that we have 15 vertices, 15 sides. If I select this face here, we've got one face and four sides. When you do that Boolean, you can get some strange faces. Now, I've contained the issue by adding edge loops around that Boolean because we had these here. And I could do that over here. I could insert edge loops into, let me tab into object mode and then edit mode. Here we go. I could insert edge loops here and contain that Boolean so it wouldn't extend the end guns to the rest of the object. But if I'm going to create edge loops here anyway, why not just use them to create the whole let me hide the furniture, the room. There we go. And then let me hit the one key and I'll press Shift Z to go to wireframe. Now I can just take these edge loops here and just put them on either side of the door and then we'll just delete the faces on the inside. So I'll press Control R and let's bring this down like this. Alright, so there we've got the outline of the door. I can hit the three key and we can select these faces here. So I'll select all of these like that. And then hit Delete and delete faces. Now, what Let's do is let's take this and I'll call this door for now, because we can use this for the door. And I'll hide that. Here we have our doorway opening. And from this, if we want, we can also create the door frame, the wood part that goes around the outside of the door. You can't really see it here because just everything's would, but you can kind of see that right here, that door frame door jam kind of area there. So what we can do for this is we can tab into edit mode and we can select edges here all the way around. Actually, I can just press Alt click and that'll select that edge all the way around. And then I want to deselect this edge and de-select this edge. Now we can bridge these. We can press Control E, or of course come up to the edge menu up here. But we're going to use bridge edge loops. And when we do that, it'll just fill the faces in-between those edges. All right, so now that we've got that, I actually want this to be a separate object now. To do that as we know, we can just hit the P key and separate those faces as its own object. So let's choose two separate by selection. Let's tab back into object mode and select that. And there we go. So now this is the beginning of that door frame. Let's move the origin of this new object to the center of it. I'll come up here and go to Object Set Origin, origin to geometry. Now we can just scale in the y SY, pull that out just a little bit. Just a little bit. That's all we need. Maybe something like that. Then we need to give it thickness. And to do that we can use our solidify modifier saw come over here to the modifiers panel, add modifier and solidify. Now if we choose even thickness, Let's see if it actually is even and it isn't even currently. So let's try and apply our scale. I'll hit the N key and sure enough our scale isn't one, so let's do that. Let's press Control a and apply the scale. And now that thickness is even all the way around. Okay, so now that we've done that, let's see how big we want or how much thickness we want to add to this. Let's just click and drag in the thickness field and I'll hold the Shift key down to maybe let's say we want it to be about like this. Let's say something like that. All right, then what we can also do is add just a little bit of interest around the edge here. And to do that, we're going to need to apply the solidify modifier because I'd like to just add an edge all the way around here. So let's go ahead and apply this. Pull that down and click Apply. Now when we tab into edit mode, we can see the polygons and let's just press Control R. And let's add something right about here. Then I want to just select those faces. So I'll hit the three key and Alt click between two of the faces. But the problem is, it goes all the way around and I don't want that. So I'll press Alt Z. Hit the three key, and then let's just press Control and click and drag and de-select all of those on the back. There we go. Now I just want to extrude these forward just a little bit and pull forward in the y-axis like that. Something like that. Granted, that may be a little bit more arts and crafts then Victorian, but I think that'll work just fine. Alright, now let's add a door jam in here too. I think I want the door to swing in. I think I want it to be in here. Let me scroll the mouse wheel here and click and I want to move it back some like that. Then maybe I'll just scale in the y SY, scale them in just a bit. This. Then once again, I want to select these faces right here. And I just want to extrude these out just a little bit. So I'm gonna hit ESX and scale in MDX just a little bit. Then I want to come up here and grab that face right there and pull it down. So it's similar to the rest. Here we go. Let's now bring back that door. Here. I think we need to scale it in the y. Let me bring it out here, so that's not bad actually in terms of a width of a door. And I just wanted to come back. It's just not quite hitting that door jam there. Now. That's going to be our door. And I think all we're gonna do is just maybe move this origin of this object real quick. I'm going to press Shift S2 to move the cursor there. Then I'm going to tab into object mode and go to Object Set Origin, origin to 3D cursor because I can now hit our z and we can open the door from that point there. So that's kind of what I want right there like that. Let's bring back the fireplace, the room, the furniture, our character. I think I will probably have the door open like that. We can see out into the hallway as if there's more going on out there. We can of course, just take this floor here and just extend this out like that. Then also maybe take this and extend this out like that. And for the wall back here, we can just grab one of these press shift D, move this back, spin it 90 degrees, and we can bring it back and kind of put it in here. That as you're looking out the door, you don't see just empty space. You see, we can see here you've got a wall with wallpaper and wanes coating and it's got an angle there. We could do all of that as well. And we'll need to add a wall here around that. But we could, just, for now, we could take this and just insert an edge loop here, grab that face and extrude this out. And then we've got that kind of indentation on the wall here, kinda like we have in here. So we can just begin arranging the world outside of the room as well. If we close the door, I feel like it's gonna feel too claustrophobic and like we're trying to hide something I like to at least have in a scene kind of an opening out into other parts of the world. In the next video, Let's go ahead and take a look at that door. I'm going to go to Image open here, and I do have a door right here that we can take a look at to kind of give us a little inspiration on how we should create the panels for this door as well. 43. 043 Modeling the Door Panels: Now for the door, Let's go ahead and hide some of these things. Let's hide the fireplace and I'll just hide everything. Actually, I'll just go ahead and hide everything except the door. Let's put it back in line with the global axes. So I'll hit the N key and come over here to the z-axis and just type 0 in here. Now, let's work on these panels. Feel like it could be a little bit thicker. Let me do that. Then let's just go to the front view. I'll hit the one key. And it turns out that it spins around, we're kind of facing. But that's actually the correct side of the door, isn't it? Because we're gonna be opening it. So we do want it on this side. Okay, That's good. Let's hit the one key on the numpad. Before we do anything, let's apply our scale. It is non-uniform, so let's press Control a and apply the scale that will help with our insects, bevels scale, things like that. So let's take a look at this. It looks like I'm going to press Control Spacebar and zoom in here and just, let's think about this for just a second. It looks like there's this kind of frame around the outside. So that'd be one inset. It looks like there's a frame around all of these panels. And would that be another inset or well, we do want to extrude that in. Yeah, it looks like we could then insert 12345678 edges and then two down the middle. All right, so let's try this. Let's see what we can do. First of all is tab into edit mode and I'll select this face. And let's just inset this with the I key to get that initial border or frame around the door right there. And then Let's go ahead and extrude that in. Let's hit E and push in just a little bit. We don't need a whole lot there, something like that. Alright, then it looks like we need, as I said, it looks like we need eight edges. So I'm going to press Control R. Scroll the mouse wheel and number of cuts in the bottom left-hand corner is eight, so I'll hit Enter twice, and there we go. We probably need to take this edge and move it down to where we want it to be. I'll just move it down to about there. And let's take this edge and move this one up. I'm just doing this right here. And then we want these 123 crossbars to be the same size. So we can do a similar thing that we did before. Let's go to face mode and Alt click between two faces, Alt Shift click and Alt Shift click here. Now we can switch to individual origins with that period key, individual origins. And with this, if we then scale in the Z, they will scale uniformly equally for each crossbar. So let's hit S, z. And now we can scale this down until we get it about the way we want it. So how do we want it? I feel like though, that those top ones need to be a little bit smaller because these appear to be a little bit taller than these. So what let's do now that we have these the same width. Let's take this one and this one. And let's move these up and down. But if I scale them, they'll change sizes. Even if I go to median point, there's still going to change sizes. So I think what I need to do is just move them. So I'm going to just select this one and move it up until I get a panel about what I'm seeing here. And same with this one, alt Shift click and I'll just move this down until I get a panel about that same size. Maybe something like that. Then I feel like we need edges here as well. So I'm going to create two and then did I change to median point? Yes, I did. Okay, So sx and let's scale these out like that. All right, now we need to down the center. Let's do that. Scale them in until they're about the same width as the crossbars. There we go. Now, we can begin extruding, I think, in setting, etc. So do we want to, Let's select these faces here, these and knees and then all of these down here. Before we do that, I think I'm going to grab these and move them up just a bit. There we go. Something like this. Then let's extrude in, hit the E key and extrude ingest a little bit like that. And then I think I'm going to scale in individually. So let's switch to the individual origins. And I'm just going to scale in just a tad like this. So it's kind of angled. They're kind of angling in. Then let's inset for these panels here. Once again with individual origins still on, I'll hit I and inset these like this. And then I think we could go ahead and extrude these out and pull these out just a little bit like this. There we go. Alright, let's take a look. Yeah, I feel like those came out a little bit too much though. Let me pull these back just a little bit like that. There we go. We didn't need him quite that far out. Yeah. And then we could also maybe bevel those edges. So they're not quite as sharp. To do that though, we're going to have to go through and select them all. That's gonna be a pain, but we can do it. I'm just going to Alt Shift click all of these and just select everything around each one of these panels. It's going to take a minute or two. All right. I've selected all of those edges around the outside and the inside of that panel there. I'm just going to try and bevel these edges. Let's press Control B and pull out just a little bit. Then I'll scroll the mouse wheel and give it just maybe, I don't know, let's see, two segments. Three seems a little excessive. I'll try to let's try that. Yeah, I think that helps just a bit and then let's go ahead and smooth it. Let's come down here to the object data properties and turn on auto smooth. And yeah, that gives us an interesting look on that. I'm gonna click and drag up. Just see what we can get here. Maybe something like that. I've come down to around 17 or so. Yeah, that's kind of nice. All right. So let's bring everything back. Let's see what we think. First of all, open the door. I'll press R z and spin it open there. And what do we think? Let me press Shift S1 to move that cursor. Yeah, let's press Shift tilde and move the mouse and drop down to the floor. And then let's just kind of walk around and take a look at it from different angles. How does it look in comparison to everything else? Actually, yeah, that's cannon. Nice. I don't mind that. That's pretty good. We will have to, of course, create a door knob for this and maybe a little metal panel for the door latch, but I think that's pretty good. All right. So there we have our door. In the next video, we'll continue with the room here, but I think we're coming along pretty well. 44. 044 Working on the Wall Details: The next thing I'd like to work on is there's a panel or something in the wall over on one side. Let me open up this image again here and right over here. Let me press Control Spacebar right over here There's this indentation with an arch right there. And that's kinda nice. They've got a wall table there and a painting. I think that's kind of nice there. So what Let's do is work on this. And it's on the right side. If you're facing away from the windows, the windows here would be there. So I'm going to work on it right in here, this part right here. Let me zoom in a little. And then it also has these three windows up top, which I think are kind of nice as well. What Let's do is let's use a Boolean again for this. Because we're gonna do that. I think I'd like to block out the area with edge loops so we don't have in guns across the whole wall here. So I'll tab into edit mode and I'll press Control R. And let's scroll the mouse wheel here. And it looks like I'm still on individual origins, so I'll press the period key and go to median point, press S and Y, and let's scale in. And I'm not exactly centered here, but that's okay for now. I'm gonna go ahead and just center it between these two. Something like that. And it looks like though from the pillar there's this kind of extra space here. Do I want that? I think maybe I do. Let's bring that in like this. And then we've got an indentation here and then the hole in the wall. Now let's think about how tall this should be. Let's bring our friendly neighborhood reference figure over. Let's just drag him over here. And let me just see about how big we think this should be. Let me tab into edit mode with the wall. So it looks like a person would probably be about halfway up there. So I'm going to press Control R and kind of bring this up. Maybe about like this. Let's try that. Let's see how that works. Let me grab these again. I think I'm going to bring them out some. Actually, this is a pretty good time to talk about a theory I have that I think can help sometimes in situations like this. Now, we could, if we want this indentation here before the hole in the wall with the arch, we could of course, create another cube and make it taller than the wall and actually cut in a boolean on this one. We could do that pretty easily. But also, I've seen people try and do things like you take something like this and hit E and push in and try and get an NSAID in like that or an indentation in like that. And the problem you have with this is you've got these extra faces at the top and the bottom. So let me press Control Z here to come out of that. One of the things I'd like to tell people is that it's sometimes easier to extrude out than to cut in. Because cutting in involves those kinds of extra faces that you've then got to deal with and then connect things back up. And sometimes it's just easier to take faces like this and just extrude them out and push out and then take this whole thing and move it back in. And now you have that NSSet without those faces on the top and the bottom that you've got to try and delete and clean up, etc. Once again, my point is it is sometimes, and I would say often, easier to re-frame the way you think about things and think about extruding out rather than cutting in, in situations like this. Alright? However, now, since we've got an inset or a hole in the wall with an arch, we are going to have to use our Boolean modifier. Let's take a look at doing that. We're going to want it to be right in here. So what I'll do is I'll go ahead and press Shift a and create a cube. And let's get this inline here or setup. It's inside this kind of framing here. To do that, I think what we should do is rearrange our outliner sum. So let's take our floor and we've got something called fireplace wall here, 001. Yeah. That's the door frame. Let's rename that door frame. Let's take the door the door frame, the fireplace wall, and the floor, and let's put them all in the room collection. We've got this here that's cubed, that's gonna be our cutter. We could probably delete this other cutter. Why don't we just do that. Let's delete this and we'll call this one the cutter now, just so we have that. And then I think I want to take this wall and these pillars here. And let's bring these out of our room collection by pressing the M key and going to Scene Collection, and that brings them out here. Then we can go ahead and hide everything. So I'll just hide everything here. There we go. Oh, I'll bring back that figure just for a moment there. Alright, so now let's take this and let's hit the three key on the numpad. And I will press Shift Z to go to wireframe. And let's bring this and center it up here and I'll scale it in the y, kind of like this. We will get it about the right height here. So it's kinda hard to see, of course, because we don't have an image of the bottom of this, but I think Let's tab into edit mode and just take this up pretty far about this. And maybe I'll even scale it out in the y just a little bit more like that. Alright, so now that we have that there, I'm going to press Control R and drop an edge right down the center. I'll go back to vertex mode and I'll drag, select these two points here up on top. Back to the three key. Here we go. And I'll bring this up. You can see we're just beginning to get that that archway there, here at the top. All right, so now what we can do is we can use our Bevel tool to create this arch. Let's press Shift Z to go back to Solid mode. And then with this edge selected, I'm just going to press two and select just that edge right there. Let's press Control B and bring this out. You know what, we should probably check our scale. It's tab into object mode and hit the N key. And our scale isn't bad, but let's press Control Z and undo that and then come back to object mode. And let's press Control a and apply our scale. That'll just help that bevel, be a little more uniform. Let's press Control B again and bring that out. Scroll the mouse wheel a bit. Let's take a look at it here. That's not bad actually. Maybe I'll add another segment or two and actually pull the width out just a little bit because it's pretty flat there. Alright, now that we've done that, let's select these edges on either side, and let's do this again. Let's press Control B and bevel these out. I'll bring them out to about here and let's take a look. I feel like they're a little bit shallower than that. So I'll click in the width and bring that back, something like that. And I don't know that we need all six of those, do we? That's not bad. Yeah. Let's go with that. That's pretty good. I'm gonna go ahead and smooth it. Come over here to the Object Data Properties. Click on auto smooth and that cleans that up pretty well. Now what Let's do is let's come back over to the object properties here. Change from textured to wire. Then if we select that wall, Let's go to our modifiers panel and let's add a Boolean modifier here. Now remember we just have to click on the eyedropper and then click on our cutter. And that adds that cutter into the object field there. Then if we take this and drag it in, we should get a little bit of a Boolean. Yeah, it's beginning to cut into there and now we can go all the way through. But we don't want to do that. I think I just want to go in a little bit about like this. That's really all I want. That really may be all we need now. Granted, we could make this wall a little wider if we needed to, we could tab into edit mode and then hit the three key and select a few faces here and pull that back just a little bit. In fact, we could do, which might be even better, is just to take this one face and hit the E key and extrude it back just a bit like that. Now let's try that. If we come back to our cutter, we can then push back a little bit farther like that. Let's go back to about right there. If I hit Alt Z, we can kind of see where it is in that extrusion there. Notice I've taken the Boolean cutter down below the bottom of the wall just so we'd cut away that area as well. All right. Let's see how that looks. I'm gonna go ahead and hide it and we can take a look at it. Now we've got some kind of artifact in here. Let's select that wall and let's press right-click Shade Smooth. And then let's come down to our object data properties and turn on our auto smooth. And that cleans that up pretty well. That's nice. Alright, so we've got that indentation there. Is it now to a place where we think we can go ahead and apply the modifier. But we can keep it like that in case we need to make any modifications to it. We can go ahead and keep it as a modifier for now. Alright, so in the next video, Let's continue working on this wall here. 45. 045 Adding the High Windows: For the windows here, we don't have a whole lot of information, but we can kind of get it to look something like this. I'll tab into edit mode. And I think from here I will go ahead and insert a few edge loops and let's press Control R. And I'll insert six cuts here. I think let's do that. And then I'll start taking these here and moving them out in. Notice since we haven't applied that Boolean modifier, the cuts are still going through this area even though there's a Boolean happening here. So we need to keep an eye on whether or not these edges are going to affect that Boolean. But let's see what we can do here. I'm going to bring this out like this about to here. Let's say I'll tab into edit mode and let's take a look. It doesn't look like it's really affecting it, which is good. I will then take these two areas right here. Let's once again go to our individual origins here. And let's scale these in the y SY, so they scale individually like that. There we go. Then let's get two edges here for the top and the bottom of the windows. So S, z, and I'm still on individual origins. I'll hit the period key, go to median point s, z. And let's bring these up like this. There we go. Now we've got these three faces and it looks like they're not quite even are they? It looks like that center one's a little bit smaller than the other, so we should probably deal with that. I'm gonna bring it over just a little bit and select this one and bring it over just a little bit, see if I can get them. They look pretty good here. Let's now with individual origins. Inset these. Here like this. It looks like our scale is off. Let's take a look. Yeah, we need to apply our scale for the wall itself. So I'll press Control Z and go back to here. Then let's press Control a and applying our scale. Now let's take these and hit the I key and NSSet these in just a bit. And I feel like I wanted to just bring them in a little bit. Like this just a little bit. So there's kind of an angle there. Then let's begin extruding in like this. And then we'll end set again just a bit. Then we'll extrude and again E. Then in the window itself, the window has a frame in and of itself. So we could go ahead and hit I and bring that in just a little bit. Then E and push in just a bit like that for the window itself. And we're gonna have to deal with the window in the glass and the little crossbars, etc. But for now I think that's gonna be just fine. All right, let's take a look at it. I'll tab into edit mode and you can see once again that we're not getting that arch there when we tab into edit mode. And that's fine. Because now we could do something like this. We could bring that cutter back. And let's say we wanted that arch to go up to the bottom of the windows a little bit more. So we could select this tab into edit mode. And we can select all this up on top. And we could then just bring this up like this. We can bring that up a little higher if we want. I don't want it to go all the way up. I wanted to just go a little bit higher. And now let's hide that. There we go. Alright, let's bring everything back and see how we're doing. I'll bring back the fireplace, the room, the furniture, and we're going to need to adjust the floor a bit here. So let's tab into edit mode and grab that face here. And let's pull that out so it covers or goes out as far as that extrusion. Alright, I'm gonna press Shift tilde and take a look at it. Let's do that. Shift tilde, move the mouse, and let's hit the W key and come over here and take a look. Just want to swing around. Take a look at our character, that indentation. Yeah, I think that'll work just fine. All right, so let's now take this wall table here and let's just duplicate it and move it over there and just see how it's going to work. I will come over here and type in 0 in the z-axis up looks like we need 90 degrees in the z-axis there. And we can push this in a bit. That may be a little small for that, we may need a bigger table there. Kind of more substantial to go in there. And that's one of the things that we're going to do when we begin doing our final adjustments, seeing what else needs to be in the room. But what Let's do now is take those panels that we've got here and let's move them around and see if we can place them in the other parts of the room. Let's press shift D and move these over here. Then let's take one of these panels and just move it over to the other side and see how it works over here. Let's press Shift dx, bring it over. Let's spin it around in the Z, I'll type in 180. And then let's bring it back and put it in here. See how we're doing. Maybe something like that. Then let's bring it over here, shift TY, put it in here for now. Let's see how that's working. All right, Let's just get a sense once again now of how it's feelings. Shift tilde, move the mouse, and let's just kind of walk around. And yeah, that's not bad actually. I think that'll work pretty well. So what we do need to do though, is put them in this area as well. If I press shift D y and then turn it in the z-axis, RZ 90, and then hit the negative key and that'll spin it around there. Do we have at about the right size for this? And if we don't, what do we want to do about it? Let's bring that and put it right in here. That's not bad. We could move this into the very edge there. And then you see we have a little bit of a gap here. And here's where keeping the walls modular can really help. I can now take all of these and move them in just a little bit so we clean that up. Let's see about this side over here. Let's press shift D and move this down here. Our z 180. And let's put that down in here. Period key to zoom in. Let's see what we think. It looks like. This wall down here isn't quite as tall as the other, so you just begin to get a sense of what needs to be done once you begin moving things around, putting them in place, etc. All right, so we've got that and that's not bad. What I'll do is just move this wall here. Then what we're going to need to do is create new panels for these spaces that are slightly different size. I'm also going to turn on the cutter here and add this to the selection. Then let's move everything in just a little bit, see if we can get it a little bit closer in like this. Something like that. Alright, I'll hide the cut or again, maybe move this back out. Now we've got that wall in line there so the fit is just a little bit better. All right, what Let's do in the next video is Let's begin creating the panels for these other parts that are a different size. And also we're going to need to begin working on the windows here. 46. 046 Finishing the Wood Panels: All right, well, let's place our panels here are wood panels on some other walls here. So maybe I'll just take this one and duplicate it and move it over in the x. And let's see if we can put this one right over here on the edge. Now it looks like we could move these in this wall here, just like we did over here. So let's do that. Let's just select the wall and the pillars. And then we'll have to go through and select each one of these panels. And while we're here, I'll select this collection of furniture. Then let's just go to the top view press Shift Z, and I'll press G, x. And let's just move this over like this. We go, Alright, let's see how that looks. Yeah, I think that helps. That closes that in just a bit. In addition, I want to take this panel and put it over here. So I guess we'll just take this one and duplicate it and move it over. And to get the hole in the doorway here, we could use our door frame as a boolean and then remove the part in the middle. So let's try that. Let's select this. I'll press Shift D y. Let's move that over here. Let's spin it around, are the 180. Then let's move it into place, right in here like that. Then we can use the door frame here as a Boolean. So I'm just going to select that and move it out so it intersects with that completely. Then let's select the panel. Let's add a Boolean modifier. Let's click on the eyedropper and then on the door frame. Now I'm going to select that door frame. We're getting some artifacts here, so I'm gonna pull it out to about here and see how we do. And then what I'll do is select that panel and let's apply it. I'll just click here and click Apply. And then if we take the panel and let's just move it all the way back here and I'll hit the period key. Now you can see we've cut the door out of that. Let's tab into edit mode. I'll just hover over this and press the L key to select just these linked faces here. And then hit Delete and delete faces. And there we go. Now we've got that panel with the door cut out of it. Let's bring it back and see if we can get it in place now. I will bring this in just a little bit. Then let's bring the door frame back some two. I wanted to stick out just a little bit farther from the panels. There. There we go. Yeah. So it looks like I can maybe move the door out as well. Just a bit. There we go. So now we've got the panels around the door. In addition, I want something here on either side of the fireplace. So let's put a couple of these columns on either side there. If I select one of these, Let's duplicate it. Shift dx. Let's hit the X on the array modifier to remove that. Then actually, I don't really need this face back here. I'll just delete that face. And then let's turn it into z-axis r, z 90. There we go. And let's click and drag and move this over. Try and get it in place here. So if we moved it, it just came close to this right here. We go. What do we think? Yeah, actually, that's not bad. Let me take this and move it over there. Hit the period key and let's put this in place. Maybe I'll press gx and move this out about like this. Hold the Shift key down. And there we go. We've got those pillars on either side of the fireplace. That looks pretty good actually. Do I need those panels up here? I don't think I do. I think I kind of liked that. It's a little bit different. And I'm planning on putting a big painting or some sort of picture up here, framed picture up there. It kind of works for me not to have the panels there. All right. How about over here now, these I think need panels. As I said over here, I'm gonna put curtains as if there are windows there, they're gonna be closed. But over here I feel like I do need something. So let's grab one of these and duplicate it in the y-axis and bringing it over. About like this. Let's see if I can get these kind of matched up here, something like that. Then now we need to make a decision. Do I want this area right here to have three panels or four? With three panels, there'll be a little bit wider with four panels, there'll be actually quite a bit thinner. I think I'll go with three panels. Let's do that. Either way, we need to move the origin of this object so we can scale from this side. So let's tab into edit mode, press Alt Z and hit the three key. And let's find a face over here on the outside of the object. And let's move the cursor to shift S2. All right, Now, if we change our pivot point with the period key to the 3D cursor will be scaling from this point. Now if I press SY, I can scale these out until maybe about right there. There's three in there instead of four. Well, let me try for I don't think I'll want to do it, but let me try it. It's really not bad, but I think I do like three better. So I'm just going to undo this to three. And then what Let's do is let's just move it back like this. I'll change back to median point here. Hit the period key, and let's delete these right here. So let's press Shift Z tab into edit mode and then I'll just click and drag these right here. Hit Delete and delete faces. All right, let's go back to object mode, and let's bring this back and put it in here. Let's see how it looks. Yeah, that looks okay. It looks like that's going to fit in there pretty well. All right. What about this other side? So let's take this and press shift D x, and let's move it over r z 180. And let's put this in place. I'll press Shift Z. I push the seven key on the numpad, and let's just hit G and move this kind of right in here. Like that. Let's see how that works. I'll move it down a bit. Shift Z. And it's a little bit too far. I'll move it this way that Let's try that. Now we've got those panels in. Let's think about the windows over here. How are we going to do those? Well, I think I want to do them similar to the way I did the windows over here. For that, we're going to need to insert quite a few edge loops and do a bit of extruding and in setting, etc. So why don't we work on that in the next video. And we'll also talk about how we're gonna get a whole in these where light can actually come into the room that's coming up next. 47. 047 Finishing the Window Frames: Now let's work on the windows here behind the desk. To do that, I think we're gonna need to insert some edge loops first, and I think maybe 123456. Let's do that. I'll tab into edit mode, press Control R, and scroll the mouse wheel until we get six cuts. Then let's take this edge and move it up. Because I want it to get to this right here. We're going to put in a crown molding kind of thing all the way around. That'll be later in the game when we do the ceiling, but I need to leave a bit of room for that. If I come up like this, I think that'll leave some room for that molding there. Down here. We want to take this one and leave some room above the little window seat here as well, something like this. Now let's get these two sections evenly spaced, the horizontal sections here. So once again, let's do our trick where we Alt click between two faces here, change to individual origins. And now if we scale in the Z, they will scale uniformly. And let's scale these in just a bit like this. Maybe something like that. Let's bring these up a bit. I think I want this one to be up here. This one to be in a similar place and then have longer windows or taller windows down here. Now, it looks like we need four edges going this way. Let's try that. Then let's scale them out Sx and let's scale them. Once again, I have to switch to median point and then let's press S and X and let's scale these out like this. We go and then let's scale these in as well. Sx and bring these in like this. It's about the same width is what we have in the center here we want to try and make those similar. Then over here let's do two like this, and I'm gonna have to just grab each one of these and slide it by pressing the G key two times. So let's do that. Slide it in here. Then let's take this and hit G2 times and slide this out. About like that. We want to get those about a similar width, I think. Now we need to do our extrusions like we did with the other windows. So let's go through and select these here. And now let's once again switch back to individual origins. And let's try and see if we can create these windows here. I think I'll begin by extruding in just a bit, hit E and push in just a little bit. Hit, I am come in just a little bit. I think we better apply our scale. Look how they're uneven here. Let's press Control Z and go back and let's reselect that. Okay, Now let's tap back into object mode. Let's hit the N key and take a look. Yeah, the scale is quite off here, so let's press Control a and apply the scale. Now we have all ones here. Let's hit the N key again. And now let's begin this one more time. Let's extrude in. We go, Let's hit the I key to NSSet. Yeah, that looks a whole lot better. Let's then extrude that in. That looks like there's another one. Here. I'm gonna hit the I key and push in just a little bit. Hold the Shift key down to move slower. The E key again. Let's push in a ways like so. And then I'm going to inset in just a little bit again and then extrude back in like this. And there we go. So that's the windows there. Alright, let's smooth it. And let's come down here to object data properties and turn on auto smooth. And yeah, that looks a whole lot better. We'll go ahead and leave the mirror modifier on for now. In addition, just real quick, I see right here, I could maybe add an edge right here and add a little bit of a lip to this window seat here. Let me just select this face right here and just hit E and pull out just a bit. Just as if there's an alleged there something. Yeah. Okay. Now you may be wondering, well, how are we going to be able to see in or have light come in from the outside through these windows. We've got a wall in back here and we've got a solid window here. Well, the way we're gonna do that is actually use the bridge edge loops tool. We're gonna need to actually make the windows to put in here. But what we can do is go ahead and do the opening. So let me show you one way to do this. There are of course many ways to do any one thing in Blender, but you can take the inside face here. Then select the outside face. Here I'll press Alt Z so we can see those two faces. Then we can press Control E and choose bridge edge loops. And when we do that, we're going to add, it gives us an opening out to the outside. And actually it's not a bad way to do this for an older house like this where the walls are thicker than a modern house. Let's grab these two now press Control E bridge edge loops. We can do this and this control E bridge edge loops. And there we go. So that's a quick way that we can go through and just create the openings. Now as I said, we are going to need to create the actual windows and then duplicate them. We're really going to create probably one window for the tall ones and one window for the short ones, and just duplicate them all the way through. Four over here. Let's take a look at this. If we select one face here and then spin around and select this face Control E bridge edge loops. There we go. We can go through and do that for each one of these this one and this one. Go. Then we go through and do them all the way through here as well. Alright, so there we have those. Now, for these over here, they're gonna be a little bit different because we're at an angle. You can see that if we take these two faces here and press Control E and bridge edge loops, it's really very much at an angle here and that won't work. So let's press Control Z for that. What we can do is we could insert another edge loop in here. So let me press Alt Z. We could insert an edge loop to match where the window is. So we could say Control R and move it about right here. Let's say, let's try that. Z. So now we've got two faces here and then two faces here. Let's see what happens when we do this. Control E bridge edge loops. Yeah, that's not bad. It's just that this right here is kind of getting in the way. So we could kind of fudge it a bit. We can take this whole edge here. Let me grab this whole edge right here. This one right here. We don't need this. What do we have down here? Do we have anything selected down here? Yeah, we don't need this. We could take this whole edge here and just basically slide it around until we get it to a place where we think it'll work. We could take this and move it back like this. Kind of like that. There we go. Let's try that. Then from inside. Because that's all we really care about. Yeah, that looks pretty good. Let's do that with these others. Now. Let's take these two faces right here. And these two control E bridge edge loops. And now these, and these and bridge edge loops here. There we go. I think that's gonna be just fine from the inside. Yeah. Alright. So there we've got our rooms so far. Now I did mention that we're gonna put curtains here and we will get to those at a later date. But I think we've got enough of the room in to begin UV mapping and texturing it. Because so often it's really difficult to know what more you need in the room until you begin to get your textures on. As I said, I know I'm gonna want curtains here. I'm gonna want some area rugs here, some of those Persian rugs in the room. We're gonna want things on the mantle piece. We're going to want pictures on the walls. We're going to need more wall tables. We know all of that. But I think it's gonna be good for us to get the textures in for the things that we have. And then we'll be able to see what more we need. In the next section. Then we will begin UV mapping the furniture, the tables, the chairs, the desks, etc.. And then we'll move onto UV mapping the room after that. Then once we get our uv maps on, we can then of course began applying textures. So that is all coming up next. 48. 048 The Basic Tools of UV Mapping: Now let's begin working on the UV mapping for the furniture in the room. Let's do a little bit of organizing. First, of course, we've got these cube objects here. Let's just select all of these and drag them into the room collection. Then let's begin with this coffee table. I'll hit the period key. Yeah, let's just begin by UV mapping this. So to do that, or I should say to hide everything else. Let's go ahead and pull this out of the collection that's in. Let's hit the M key. Bring it out to the scene collection. Here it is. Now we can just hide all of these. In fact, we could take this cut her object, we can bring that back and select it and delete it. We don't need that. Here we have our coffee table. I'm wondering if we can do something about the shading here. Let's make sure that shading is applied. And then I'll go over here and we do have auto smooth turned on. Let's click and drag here and see what we can do. So it looks to me like we've got just an area because I don't want to smooth these too much, but it looks like right in here we could maybe make this edge sharp. So let's do that real quick while we're here. I'll just select that. Press Control E and mark sharp. And let's see how that did. Yeah, I think that helps that. I'll just do these for the other ones as well. We might as well go ahead and do that. Mark sharp, okay, So that helps, I think, define that edge a little bit better. All right, Let's now go over to the UV Editing tab right here. We will begin UV mapping. Now when we come into the UV Editing Tab, it automatically changes our object to edit mode so we can just hit the a key to select everything and the period key to zoom in. When we select everything, all the faces on our object, this is what we get. It's just a bunch of polygons, a bunch of UV islands, one on top of the other, all bunched together. And our task for UV mapping is going to be to break this up in such a way that we can lay our uv maps out flat in a uniform way with no overlapping and with minimal stretching. You can think of UV mapping as like cutting the edges of a box. Say we have a cardboard box and we want to actually lay the box out flat on the floor so we can draw or paint on it. We would need to maybe strategically cut a few edges to open it up and lay it out flat. Then we could paint or draw on the box however we wanted. And when we then collected the box up and rearranged it so it's a three-dimensional object again, maybe using some tape to seal the edges up. Then all of our designs will be all around the box. And that's kind of what we're doing with UV mapping. We're trying to figure out a way to open the object up, lay it out flat so that we can apply two-dimensional images, two-dimensional textures to it. Having said that, let's try one of these pieces here. Let's work on the top part. For this top part, I'm gonna go into edge mode. And we need to define where we want to cut this or where we want blend or two. There are really two good options, I think for UV mapping. If we hit the U key on the keyboard, we get the UV mapping menu. Even though we've got quite a few selections here, these projections and project, the two main, I think the two most important tools we have are the unwrapped tool and the smart UV project tool. As I mentioned about the box here in Blender, we also have to make a decision where we're gonna cut the corners, where we're gonna place the seems to open the object up. Now we can make that decision as to where the seams are. Or we can allow blender to do it. If we want to allow blender to do it, we can use this smart UV project option. If we want to define where the seams are gonna go, we can use this unwrap function. We can place the seams using these menu items here. Mark seam and clear seem. So those are the four items we're gonna be using the most here in this menu. So let's try something. Let's hover over the top of this coffee table and let's press the L key and that selects that whole top. Now notice the UV map is in a cross pattern here. Let me show you something. If we go back to object mode, and I'll move the cursor back to the center of the grid with shift S1. If we create a cube, shift a mesh cube. And then tab into edit mode. Look at this. We get a UV map automatically and it's in that cross pattern. So that cross pattern is the UV map for a cube. However, I'll just delete that. This top of the coffee table is no longer a perfect cube. And yet the UV map still looks the same. When we edit or modify or extrude with an object, the UV map doesn't change, it stays the same and that's the problem. We need it to better represent what we see here. With this selected list. Just try smart UV project. Let's press you smart UV project. Then here we can click Okay, and there we go. That's what it's done, That's how it is broken it up. It looks okay. But I don't think that's quite representative of the object as it is. If we tap back into object mode and press the N key, we can see that our scale is off. And just like the Bevel tool, the solidify tool, etc, UV mapping looks at the scale to try and figure out how to run the tool. And when the scale isn't uniform, it kinda has a hard time. So let's press Control a and apply the scale here. Now let's tap back into edit mode. And with this still selected, let's press U and smart UV project again, click Okay. And let me this. Now we're getting something that's a little bit more representative of this object. Because if we come in here and hover over this and press the L key, and now if we hit G, we can move this out. You can see that this better represents some of these ridges along the side of the tabletop. But it's still splitting them up. It's still, if I select this one, even this one is a little bit better representation of these ridges. But can we do even better? If we wanted to do it ourselves? We could select these edges here. I'll press Alt and click. Then we could press the U key and click mark seam. And now you can see we've got this red line on that edge signifying that we have a seam there. Let's go around here and do that to each one of these, I'll press the U key and mark scheme, and we'll come around here. You mark seam. This last one here, u and Mark seen. Now in addition, we ought to split out the top. We could go to face mode, select that one face there on the top, press U and mark seam, and that will then place a seam on the edge around that face. Same thing down here. We could press U and mark scheme, and there we go. Now let's give this a try again. I'm going to press the L key and notice what it did. I hit the L key, but it didn't select the whole piece there. If we come down here to select linked, you can see we've got a delimiter, and currently we're limiting our selection by the scene. I'm going to press Shift and click that to turn it off. And now it selects the whole thing. Alright, let's try it again with the unwrapped tool, you and unwrap. And looking at this, that actually looks quite a bit better because if we hit the L key, we can see that this is all together representing this piece here. However, if you look at them, they aren't as long is this piece here. We still don't have the correct proportions. We still have our scale at one here. But let's try this again. Let's hit you and unwrap. Then let's come down here and change it from angle based to conformal. Now you can see that these are much more representative of these pieces. Now they are the same size as the top and the bottom. That's just a quick rundown of the basics of UV mapping. These are the tools we're gonna be using. We're going to go through the processes and techniques of UV mapping these objects and getting them into this 0 to one space here, this box here in the UV editor. In the next video, we'll continue using these tools to finish UV mapping. The coffee table. 49. 049 UV Mapping the Coffee Table: All right, we've got the top of our table UV mapped. Let's work on this shelf here. I will go ahead and deselect everything with Alt a, and then I'll select this piece right here with the L key. And once again, we have that cross pattern here, but this is no longer a cube, so that won't quite do with this whole thing selected. Let's just press U and mark seam and that will play seems on every single edge. Now let's just press U and unwrap. And there we go. We've got the top and the bottom and the sides. Now we could try changing from conformal to angle based. Not quite as good because these don't match up to the length of the top and the bottom. So let's go back to conformal. I think that's pretty good. Now if we hit the, a key over here, it would once again just be a collection of jumbled up uv maps and that's okay. We have tools to rearrange and organize them so we don't have to do that until the end. Now, for the legs here, these are exactly the same. So we could really just UV map one leg, then duplicate and mirror them over to the other corners. Why don't we do that? Why don't we take this and this object. I'm just pressing the L key with the delimiter turned off. And then I'm gonna hide these with the H key. Just press H, and there we go. Then I'm going to delete three of these. Let's press Shift Z, and I'll click and drag this shift click and drag and Shift click and drag these three here. Hit Delete and delete faces. All right, now Shift Z. I'll select that, hit the period key, and here we are. Now, I know that out here is the outside. Let's take that same and let's put it on the inside in here. Like this. Sometimes a break in the texture add a siem can be visible. So we want to try and hide the seams as best we can. I'll select that edge and press U and mark seam. And I'll do that same thing over here. Alt click, you, mark seam. And then what we could do is we could get rid of the faces on the top and the bottom because no one's ever going to see these. And they're only going to get in our way here as we try and UV map. Maybe I'll take this one here and delete it. I can look down here and select this one. That's that face there. We don't want to do that. Did we already delete a face out of here? I'm gonna press the L key to select this, and then I'm gonna hide it by pressing the H key. And let's take a look. Now. We do still have a face there. Let's go ahead and select it. Delete, delete faces. Well, now that we have these here like this, Let's go ahead and UV map this. I'll just hit the a key and let's hit you and unwrap. Now, conformal work too well for those straight angled pieces. But it isn't doing very well for these curved pieces. So let's change that from conformal to angle based and look at that. That looks a whole lot better. Now in addition, you can see that these are right up close to each other. We can change the margin of our uv maps here, the area between them by maybe we could type in 0.01 and hit Enter, and that moves that out a bit. But we don't really have to deal with that until the very end when we pack all of our UV islands into this square here. Alright, let's bring things back over here. I'll press Alt H to bring things back. We should probably go ahead and work on this guy here. So to do that, I'm going to press the L key and then I'd like to hide everything else. There are two ways to do that. One you could press Control I and then the H key and that will hide everything that's selected. Or you could also press Shift H and hide everything that's unselected. I'll, I'll do that here. Shift H. There we go. And recall to bring everything else back is Alt H, right? So let's take this right here, press Shift H, and then let's go around inside and make sure we put our seams on the inside where they aren't as visible. I'll hit the two key, and I'll select this edge and this edge and this edge. And let's hit you. And Mark seem. Then up here I'll just select this face and this face. And then let's press U and mark seam here. Now we've got those seams Marked List, hit the a key, press U, and unwrap. That looks pretty good. All right, so now let's bring everything else back with Alt H. Here we go. So we've got our table with just one leg. If we hit the a key and select everything, this is what we get. It's still kind of a jumble. Things have been UV mapped, but they're kind of overlapping and some things are too big compared to other things. So two tools that we can use to help us with this here. They're both under the UV menu here. One is average island scale, and one is pack islands. Average island scale. We'll take all of the selected islands here and resize them so they're the same proportions in relation to each other as they are over here in the 3D view. So let's see if we go to UV, average island scale. Look at that now the legs are a proper size and appropriate size compared to the edges of the top part of the table or to the shelf, etc. Now the last thing we'll need to do is go up here to UV and pack islands. That will, if we click here, pack everything into this 0 to one space. Now I need to just mention why I'm calling this the 0 to one space. If I hit the N key and come over here to View, you can see that the location of the 2D cursor here in this view over here to 3D cursor, the location of the 2D cursor is currently at 00. This XY graph here. But if we move the cursors, say from 00 to 01, it moves over here. We move it to 11. It moved right here. And we move it to 10, moves right here. This is really a space that is from 0 up to one, 0 to one space. So you'll be hearing me call it that quite a bit. All right. Now we've got our UV map here. It looks pretty good. We can come down here and we can turn it by unchecking the Rotate box here. We can also increase or decrease the margin. This actually looks pretty good I think. But the last thing we need to deal with is this leg. We only have one leg on our table. So let's go ahead and mirror this over. To do that, we need to first move the 3D cursor to this origin here. Let's tab into object mode. And then we can move it to this point. Shift S2. There it is. Then with that 3D cursor there at that origin, we need to be sure we're going to mirror based on that 3D cursor. So let's hit the period key and go to 3D cursor. We go. Now if we select this, I'll hit the L key. And then we can press shift D, Enter Control M and Y, and Enter. There we go. Now let's also take these two here. This Let's duplicate and mirror these two in the x shift D Enter, Control M, X Enter. And there we go. But look at this. Even if we select multiple legs, we still only have one UV island. That's because when we duplicated and mirror these uv maps just got the stacked one on top of the other. If I hit the L key over here and hit G, you can see that it just stack them up. Hit the L key and G again. Now what Let's do is let's select this whole thing with the a key. I'll select everything over here with the a key. Let's go to UV, right here. Average island scale, UV pack islands. And there we go. There is our UV map of the coffee table. Now, did we do a very good job? How do we tell? Well, in the next video, we'll create a UV test pattern to see how we did. 50. 050 Testing and Organizing the UV Map: All right, We've got our UV map. It looks pretty good, but how do we know? How do we know if it's really any good? Well, we want to check a few things. One, we want to check our seams. Make sure that they're in a place that isn't gonna be distracting or is a logical break. And the texture. Number two, we want to avoid stretching. We want to make sure that when we put our textures down on this UV map, the UV islands as they are, won't stretch those textures to make them look strange. And thirdly, is it organized in such a way that we can understand what it is? Or if we're working in a studio environment, will someone else be able to open up this UV map and understand what the pieces are and how it's organized. Well, luckily, blender has a few tools that we can use to make sure our UV map is okay. One of those is a UV test pattern and that's just basically a checkerboard pattern that we can put onto the object temporarily to see if the textures are stretched. What Let's do is come over here to the materials panel right here. And currently we have no material on this object. We can add a material by just coming over here and clicking on New. And there we go. We've got a material. Now, if we come over here to the material preview, let me move this over a bit. We come up here to the material preview. Here's our material. It's really nothing special, just a plain white. But here in this base color, we can add a new image texture. So let's just click on the little yellow dot here on the bass texture and come over and choose Image Texture. Once we do that, the material changes here. But what we want is we want that UV test pattern, that black and white checkerboard pattern that's going to help us see if we have any stretching. Let's come over here and click on New under the base color. Here, we can give our new texture a name. We can call it UV test texture. Then under generated type, let's change it from blank to UV grid. Then click Okay. And there it is. Now while we're here, let's go ahead and change the name of the material as well as call this UV test. Material, will be able to use this material and texture combination again and again on our different objects. So what does this tell us? How did we do? Well, it actually tells us quite a lot and I think we did. All right, first of all, the seams down in here, the ones that could look kind of strange. Let me tab into edit mode and grab this with the L key and I'll hit the period key and then I'll go back to material. You can see here, let me zoom out a bit. This is our UV test texture over here in the UV editor. But you can see the scene that we created here. When the texture comes around to that scene, you can see there's a break in it. And that's gonna be kind of distracting, I think, or at least it could be. That's why I hit it away on this side of the leg. Now, the texture breaks up here, I think. The top right here you can see that there's a break in the texture here. The checker pattern does not go continuously around there. I think that break and the texture is fairly logical and motivated. I don't think that'll be a problem. And also on the corners, this is a break between two pieces of wood. So I think that's gonna be fine there as well. So you just kinda have to see, are the texture breaks consistent or the logical, or they motivated, or are they distracting? And if they're gonna be distracting, we should probably hide those away if we can. Now the next thing is the texture stretched? Well, the way to see if it's stretched is, are the squares, the black and white squares, pretty much the same size all the way around the object. And if we take a look, even though there are a few breaks on, seems the size of the squares are pretty much the same all the way around. That's what that average islands scale did for us. That's what that tool did. Is it made all the UVA Island's pretty much the same so that this checker pattern, this texture would be the same size all across the object. Lastly, is it organized? Well, Let's tab into edit mode and let's hit the a key so we can see UV islands again. I'm gonna go ahead and click the X here on this UV test texture right there. We can see those a little bit better. The question is, is this organized? Well, I know I want to put a wood texture on this. And a wood texture is going to have a grain. That grain, assuming he's either gonna be going this way or this way. I'm gonna say I want the green to be going up and down. And if the grain is going to be going up and down, is that logical for these pieces here, like Let's say for these side pieces on a piece of furniture like this wood, the wood grain be going up and down or would it be going along the length of this panel? I think it would be going along the length of the panel. So if our wood texture is going to have the grand going up and down, then these pieces are pretty well aligned to that grain. I think these are okay. Now what about these here, these pieces here? What are these? How do we figure out what these are? If I just hover over this and press the L key, I can't really tell which one of these pieces. This is. What we can do is we can come over here to this little button right here, this UV sinks selection. So whatever we choose over here, whatever we highlight will be highlighted over here. Now, this isn't something you want to keep on when you're moving UV islands around because that can really mess things up. But just to test this, we can turn this on. And let's press Alt aided de-select. And then I'm gonna hover over this, press the L key. Now we can see, Here's that one selected piece. That's what that is. All right, so what if we wanted to make sure that this row of faces right here was on the top. We could Alt click between two of those faces and look at that. This is actually turns sideways in relation to the way it is here. If we had wood grain on this, would it be more logical for the wood grain to go up and down or side to side. I think it would be better to go up and down. Which means that if the wood grain's going this way, this would be going from side-to-side. So we need to turn all of these pieces 90 degrees. Alright, so let's now turn this little tool off. Let's come over here and hit the a key so we can see things again. Now let's figure out how to get these things. I want to press the L key, hit the G key. I still have that piece selected. Let me press the right mouse button to escape out of that. And then I'll press Alt a, and then I'll come over here and hit the L key. I'll hit G. And this one down here. I'll also select this and move this up here, so we have them altogether. These are those four pieces at the very bottom of each leg. And as I said, I think we need to turn them 90 degrees. So I'm just gonna take these and press R9 0. There we go. Now we've got them turned in the orientation that I think we need. All right. What about these guys here? What are these things? These things I think are the squares. To test that, let's once again turn on the UV sink here. Press Alt, and then I'm gonna hover over one and press the L key. Well, there it is, right there. I'll hit the period key. For this. If I selected an edge, I'll hit the two key and select an edge here. Look at this, that's the top of this piece. So once again, I think these need to be turned 90 degrees. Let's do that. I'm gonna click and drag here. Oh, I got some of these on here, but in fact that's okay. I need to get out of this here. I need to turn the UV Sync off. And then let's hit the a key. Now we can come over here, maybe drag select these, or hit the L key. Either way. I should mention that if we accidentally selected some of this here, we can hover over it and press Shift L and de-select it. All right, so for these I'm going to press R and control and turn them this way until they're 90 degrees like that. Hit the G key and move those up. Maybe I'll turn them just a little bit. There we go. Now I know that these two collections of UV islands are properly oriented. If I'm going to have that wood texture go up and down. All right, what else can we do here? Well, what about these guys here? What about the legs? Let's turn on the UV sink again. Hit Alt a, and this time I'll come over here, hit the three key and Alt click between two of the faces here. And whereas this right down here. So these are upside down in relation to the way they are here in the 3D view. But they're properly oriented. I mean, if the wood grain is going this way, it's still gonna be going up and down. So it's not terribly important that they're upside down, but it'd be nice. So what I'll do here is I will just turn the UV Sync off again. Hit the a key. I'll take these three here, spin them 180 degrees are 180. Here we go. I'll move these up here. And maybe I'll take this one and spin it are 180, we go. So now we've got these ALT a and then L. We can move these into place over here. So I can maybe take these shift L, move this over here, the L key, and move this one over here. All right, so I've got those oriented the way I want. What about these things here? I'll drag select those and then hover over this and press Shift L to de-select this panel or that UV island. Then let's just take these, hit G, move them over here. These, I don't think it'll be too problematic. I can click and drag these. Move these up here. And maybe I'll just take this one and move it here like this. So we've got the legs here, the cubes, the feet, the tops and bottoms of the cubes, the sides of the top piece. These I think are the sides of the bottom piece, the shelf. But we've got one of those over here. So let's just hit the L key and hit G and move that over here like this. So now we've got them pretty much arranged in such a way that we can kind of figure out what they are. This kind of thing can be important if you're working with other people. And it can also be important if you're gonna be taking it into an actual paint program like Photoshop or Krita, where you need to know which UVA island you're actually painting on. We're gonna be using Substance Painter. So it's not as important because we'll be selecting the pieces by the 3D view rather than the two-dimensional UV map. That's how I would organize a UV map for something like this. If I'm working with other people or working with a 2D paint program. And so now we have our UV map with proper seems and no stretching and organized here in the UV editor. 51. 051 UV Mapping the Round Table: All right, well, let's take a look at it. Another piece of furniture to see if we can UV map, bring back the furniture. And we can always come over here to the material preview and turn that on. And then we'll be able to see which ones have been UV mapped and which ones haven't. I'll go back to solid and let's work on this little roundtable here. I'll bring it out from the furniture collection, press M Chu, scene collection, and here it is. Let's take that coffee table and drag it into the furniture collection, and then let's hide that one. And there we go. Let's go back to the UV Editing Tab. And if we zoom out, we can see there it is. Once again, it's been changed to edit mode, so we can just hit the a key, period key and zoom in. And here we are. I will go back to Solid mode here. Alright, let's see what we can do with this. I think I could go ahead and add seems here and here. And maybe here and let's do one on the very bottom as well. I'll press U and mark seam. And then we're probably going to need to select an edge along here so that these pieces are broken up at the CME and laid out flat. I'll go ahead and press Control and click here so we get those edges as well. Now with that selected, let's hit you and Mark seem then, well, It's just give this a test. Let's see, I'm going to tab into object mode and hit the N key just to see about our scale. It's uniform, but it isn't one's really not a problem, but I'll just go ahead and press Control a and apply the scale there. Now let's tap back into edit mode. Hover over that, press the L key, and let's see how this looks. You unwrap. Yeah, not too bad. How about we switch to conformal? See what happens? Not too bad either. Yeah, there's really very little difference between the two, so I don't think it matters there. Let's now work on this piece down here. Let's Alt click and Alt Shift click some of these edges along here, all the way around. We got here, here we go. Let's get these these yeah, it looks like we got those. Let's press U and Mark seem let's do the same thing all the way around on the bottom. Alright, I think we've got all of that. Let's now press U and mark seam. And then just like up here, we're gonna need an edge along the side to split this so that this part lays flat as a strip. So let's do that in the same place where this seam is right here. Let's do that. Let's press U and Mark seem. All right, Let's try that. Let's hit the L key. There it is. Let's press U and unwrap. Let's try angle based. Not doing very well. So what do you think the problem is here? It looks like it's being held together right here. So I'm thinking there's a collection of edges that I didn't mark as seen for let's see. Is there here it is right here. Yep. Because I didn't get these those edges were still locked together. So I'll press U and Mark seen. Okay, now let's try that again. I'll hit the L key. So as I said, these edges here, we're still glued together. All right, let's try it again. You unwrap. There we go. That broke them apart. And as I mentioned, there's that strip here, right here. And since we split it at this edge right here, it was able to lay down as one flat strip. All right, so now let's think about one of these legs. Let me just select this. I'll hit the L key and let's press Shift H to hide everything except the leg. Let's see if it has a bottom and a top. There aren't any faces on the bottom, but looks like there's someone a tap, so I'll hit the three key. And then I'm going to press the C key to turn on the circle, select tool, click and drag here to select those. And then right-click to get out of that tool. Then I'll hit Delete and delete faces. And there we go. Now the inside should be where that object origin is here. So I'm gonna spin around to there. And let's then select an edge right in here, like that. And this will be our scene. Let's hit you and Mark seem okay, So now let's press Alt H to bring everything back. And yet we've got that seem facing toward the center. That's good. We can go ahead and take these, these three and we can delete these. Let's do that. Just to mention, we could go through and UV map each one of those. Or we can delete them UV map one and then duplicate them back. Either way is fine. All right, so let's just select the leg here. And let's give this a try. Let's press you unwrap. Yeah, that looks pretty good. Let's try conformal. It looks like it's squeezing the what is that? The top. Not sure. Let's go back to angle based. That looks a little better. All right, so if we select everything with the a key, here's all our UV islands. Let's now once again use our tools here under the UV menu. Let's hit the a key to select everything. Go to UV and average island scale. There we go, That changes the relative size or proportions of each one of those. That's good. And now let's go to UV and pack islands. And there we go. Now, I didn't duplicate all the legs, so we don't have all the legs in there. Let's go ahead and do that. I will hit the L key here. And if I tap back into object mode, I think I'll go to median pointless hit the period key and median point. And then I'm going to turn on the move manipulator. And that kind of allows me to see which axis I need to use here. While we're here, let's go ahead and move that 3D cursor there too. So I'll press Shift S G2, and that moves it to the origin of the object. This then tab into edit mode. Let's switch to our 3D cursor here. Now if we press shift D Enter Control M and X, it will mirror around that 3D cursor. And I'll hit Enter. We have those. If I press the L key there and select that one. Now, we could do is we could just duplicate these, Shift Enter and then spin them or turn them 90 degrees in the z-axis, r, z 90. There we go. Now we've got our legs back. If we select everything with the a key, the other legs are here. Recall. And if you want them there, that's fine. You can keep them one on top of the other. What's going to happen is when we put our texture on, each leg will have the exact same texture. For some situations, that may be just fine. But for our purposes here I think I like it a little more detail and differentiation on the legs. So I want them all to have their own part of the texture map. So I'll select the, a key over here. And let's once again pack islands. And that will then pull all of those legs apart and lay them out individually. Now we can click the Rotate checkbox to see what that does. But I think that's pretty good. The only thing I personally would want to do is just select these and hit G and move them over here. And then just select this and move this to kind of join them. So they're kind of all in the same area. I might take this and move it over here. Maybe here, let's say I could take these two and move them over here. Now we're not using quite a bit of space over here. Maybe we should re-evaluate how we're using our texture space. If I took these over here and hit G and move them over to this area. Then maybe took these here and move these in a little bit closer like this. Let's see what we can do with this. I'm going to grab these and move them out and then take these and scale them up. Let's see if I can scale them up to use more of the texture space. Then we can take these, kind of put these along here. Maybe if we wanted to, we may be able to take something like this, split it so it isn't so big. If it isn't so big, we might be able to increase the size for everything else to use more of the texture space here. So this piece, Let's see what this is. I'm going to click on UV sank, select this. And that's this right here on the top. What we could do, I'll turn that off, is maybe come around to this side and select this edge, hit you and Mark seem. And now this will be split into two pieces. If I go to face mode, press Alt, click between here, press U, and unwrap. Now it's two pieces. You can see here. Alright, so we have these now. Let's put them in with everything else. I'll hit the a key. And if we selected everything, we could then come up here to UV, average island scale. Look at this. Now there are quite a bit smaller. Then we could take all of these and scale them up so they fit in here, like this. There we go. Now we can find a place for these things. We can take these, put them like this, maybe turn them if we press R9 0, they can turn like that and then hit Enter, press G and move these up here. Now we've got everything taking up a little bit more space within the 0 to one space, a little bit more of the texture. And that too should also be a consideration, I think, because you want to use as much of the texture space as possible. 52. 052 Beginning the UV Map for the End Table: Now before we move on to another piece of furniture, Let's go ahead and test this. Let's tab into object mode and go to our material preview. And we haven't put a material on this yet halfway. So let's come over here to the material panel, pull this down and just bring in that UV test material that we've already created. Let's do that. Alright, so how does that look? That doesn't look too bad, but there's one thing I want to mention here. There are a couple of things I think maybe I did wrong over here. One of those is that I took everything except these. I'm gonna press Control I to invert the selection. I took all of these and I scaled them up and move them into the 0 to one space. But I didn't scale these up proportionally along with everything else. So if I hit the a key and I come up here to UV and average island scale, you can see that they get a little bigger. Now they still fit. Okay? And actually if I come over here and press Control Z, you can see the checker pattern change. If I come back up here to Edit and redo or Shift Control Z, Shift Control Z, you can see that move again. So when scaling one of these here, say this one, and I hit the S key, you can see how the checker patterns gets smaller and bigger as we scale this up and down. Now that we've got all of these, the right scale, the right size proportionally. One last thing is that I have these turned perpendicular to everything else. If the wood grain is gonna go up and down, then these aren't aligned properly. What Let's do is let's select these and move them over a bit and then move these into here. Now, what I've been doing to select things so far is just hitting the L key and that's good. But we can also come up here to this UV selection mode. And then anytime you actually click on a UV island, it will highlight the whole thing. I'm just going to select this and hit G and move this over. Do the same thing here. And then let's take these two. Let's turn them. 90 degrees are 90, Enter and hit G. And let's just move these down here. Now these should be aligned properly with the wood grain of everything else. All right, so there we go. Let's tap back into object mode. Let's go back to the Layout tab and I'll bring back the furniture. If we go to the material preview, we can see which ones we've UV mapped so far. Alright, so what should we do next? Well, in keeping with the theme of tables, Let's select this one. Let's work on the end table here. With this selected, I'll hit the M key, move it out into the scene collection area here. I'll take that Roundtable and move it back into the furniture collection. Let's hide the furniture, and here we are. Now let's go back to UV Editing. I'll zoom out a bit. Here it is. I'll hit the period key. And let's take a look at this now I'm going to go back to Solid View just to work on the seams. I feel like it's just a little easier to see. This seems in solid mode. It looks like I've got the pivot point on the 3D cursor, I'll hit period and change to median point for now. Here we go. Let's see what we can do with this. Let's go ahead and tab into edit mode. Let's work on this top part. I'm just going to hit the L key here for this. Unless press Shift H and hide everything else. Alright, so how are we going to do this? I feel like we want to split this top part out a bit. Let's select these edges up here all the way around and we go, oh, do we have a mirror modifier still on this? No, we do not. So that's fine. Okay. I'll press U and Mark seem. Let's select these edges on the bottom all the way around. And let's add a seem to those. We should probably go ahead and just split them here at the corner. Keep it simple here. Let's press U and Mark seem okay. Now for this top part, I could select this, but I feel like we need more surface area on the top before we go to the side. So maybe if I select this, Let's see how that looks. How about the one just above that right there? Let's select that one and hit you and Mark seem. And then for down here, we can go ahead and just select this one because we're really not going to see that. Let's go ahead and markets seen there. And then where do we want to split it? Since this is a horizontal piece, this strip, we need a place to split it. If we want to split it here on the front where the handle is, probably not because people are probably going to be seeing it from that angle. In addition, we've learned if we just split it in one place, it may just be really long and not allow us to use all of the texture space in our UV map. Let's split things up in four places. Let's do that. I'm going to zoom in here and select this and Control click that. And then Control click this. We've got this seam here, I'll hit you and Mark scene. And let's also do that again over here on the back here. And control-click this. Let's de-select that and then select these. And I'll mark this seem just because hopefully people aren't gonna be seeing it from the back a whole lot. But we still have this very long piece all the way around. So let's maybe do it here. Let's add a scene here. I'll select these edges and mark seam. And then let's also do that. Around here like this. I'll hit the period key and zoom in. Perhaps control to connect up those, and then control to connect up those. Let's hit you and Mark seem all right, so that's going to split those out there. Now, do we also want to just split out the drawer? If I recall, we just extruded this out. We should be able to select this edge all the way around. We go. I'm going to press Shift Z just so we can see that. Yeah. Let's just mark as seen here as well. Alright, so we've got that taken care of. Let's go back and take a look at our scale tab back into object mode. Hit the N key. Once again, our scale is uniform, but let's just go ahead and press Control a and apply the scale so it's all ones there. And then if we tap back into edit mode, Let's go ahead and hit the a key. Now. Then let's press U and unwrap, and let's see what happens here. All right, That's not bad. Let's try conformal. That actually helps with the drawer here. If we switch back to angle based, you can see how the drawer is kind of stretched out in the center there. And if we use conformal, It's a little more straight. So I think at least for this top part can foremost the way to go. Alright, let's see about the rest of it. Unless press Alt H to bring everything else back. For the bottom shelf. I'm not as concerned with where the edges are here going around. So let's just go to face mode, select that face and then select this face. And let's just press U and mark seam here. So we've got those seams around. Let's now mark, this seems kind of similar to where we did on the top around here. So maybe alt click, I'll switch to edge mode. Alt click this edge. Let's mark a seam there. Let's do them in the back here. And mark scheme, and then let's do one. It over here, alt click you and Mark seem okay, So let's just try that. I'll select that you and unwrap. That's on conformal is triangle based. Yeah, that's a little bit skewed. So let's go back to conformal there. I like that. That works pretty well. All right. So we still need to deal with the legs and the handle here, the little drawer pull. So in the next video, let's work on those pieces. 53. 053 Finishing the End Table: Now for the legs of this in table, let's go through and select these. They're just really in two parts for each one, the top block and then the bottom cylinder. So let's go through and just select those and then press Shift H to hide everything else. Then I think we can get rid of the faces on the top here. We don't really need those delete faces. This time I'm gonna go ahead and UV map all of the legs instead of just doing one and duplicating, as I said, you can do it either way. It just depends on how you want to work, the particular object that you're working on, etc. I'm just going to go through and delete the faces on the top and the bottom here, because we don't need those. Then for the top blocks, Let's just select these inner edges right in here. And let's press U and Mark seem for those. And then I think we need to keep these faces on the bottom. So let's go through and select all of these by pressing Alt Shift and click those. And let's add a seem to all of that. Then for each of these lifts then add a seam along the inside edge, just like we did for the block. So let's do that. Mark this scene and I'll spin around and let's go to this. Each one here facing the inside to try and hide the seams. Alright, so we have all of that now. Let's just hit the a key. Press you unwrap and see what happens. Now we're still on conformal. And because these are more organic curved shapes, they don't really work as well with conformal. So let's switch back to angle based for these. And yeah, that really helps that. I just want to point out as you can see, you don't need to use the same unwrapped method for the entire object. I'm gonna press Alt H here. You can go through and select individual parts of the object and use angle based or conformal as needed. Okay, and lastly, now let's take a look at this drawer. Pull this handle. I'm going to Use the L key to select all of these. And then I'll press Shift H to hide everything else. Let's zoom in and let's see what we want to do about this. Now I purposely made these without a back, so we could easily just select these and hit you and unwrap. And there we go. There. This piece here, this handled part, we could spin around to the back. We can select this edge here all the way along it. Create a seam mark scene. Then if we just hit the L key to select it, we can press U and unwrap. We've got angle based in formal. I think angle based, even though it's tilted a bit, it's still a little straighter. And we can always if we want, just hit R and turn it just a bit. I think that works pretty well. Now, the spheres, these little guys here, I'm gonna hit the L key for these two and hit the H key to hide them. So we just have these now, for these guys, we may not need to do really anything because recall from our discussion about the cube and that cross UV map, we see that any polygon Primitive here that we create automatically comes with a UV map. Really the only time we need to change that UV map is if we've changed the object, and in fact, we haven't really changed these spheres at all. So the UV map that comes along with it is really just fine. We don't have to do anything for these spheres. Alright, so let's press Alt H, bring everything back. Let's then hit the a key to select everything. Let's come over here, hit the a key for all of this. Let's go to UV, average island scale. Uv pack islands. There we go. That actually looks pretty good. It seems to me that all of the things that need wood grain are going in the proper direction here. Let's now go to our materials panel here, and let's pull this down and choose that UV test material that we've created. Let's shrink this side a bit. Maybe I'll come up here and scroll the mouse wheel and bring this over so we can click on the material preview. Let's take a look at it. How did we do? Well, the squares all look pretty much the same size. I'm not seeing any glaring seems problems. Of course, we've got the seams on the inside that are gonna be very ugly. But that's to be expected and that's why we hit them on the inside. Let's go back to our layout tab here. Let's bring everything else back, bring the furniture back, and we can see we've got our three objects that we've UV mapped so far. Now for our next object, Let's just go ahead and do this side table here, this wall table. It too has these handles. We know how to do that pretty easily. Now, Let's go back to Solid View. Let's see if it has any modifiers on it. It does not. So now that we know what we're doing with tables, let's go ahead and UV map this. I'll bring this out of the furniture group. I'll press M, bring it out to the scene collection. Let's go to the table and drag it back into the furniture collection. Let's hide all the furniture. And here we go. Let's go back to our UV Editing tab. I'll hit the a key, the period key. Here we are. What Let's do is in our next video, let's begin UV mapping the wall table. 54. 054 UV Mapping the Wall Table: For this piece, let's go ahead and split out the top, just like we've done with the other tables. I'll select maybe this edge right here. Let me go back to Solid mode, and there we go. Let's press U and mark seam. And let's also, oh, it didn't go all the way around. Let's Alt Shift click and you mark seam. There we go. Let's do this one here. Alt, click, shift, click, get that one. It looks like that went all the way around. So let's mark that same. I'll press Shift Z just to make sure we've got those all the way around. Then let's get the corners. Think we ought to just go ahead and get all of these corners here. Let's press Alt and Alt Shift click here, mark that seem and we'll just go around and do each of these others as well. For this one here, once again, we probably need to do Alt Shift click yeah, and this year you and Mark seem okay. So now if we press Shift Z, this is what we have so far. Let's work on the bottom now. I'll just Alt click this, Alt Shift click this. You and Mark seems so we've got that. All right, so we have all of that pretty much split out. How about these drawers? Let's take a look at this. I'll select this. And we can get that. And let's press Alt and click here. We can get that. And I think what I want to do is split this center went out. I wonder if we want kind of a different piece of the wood grain on this, then we have the frame here. So let's do that. Let's go to face mode and select those. And then let's just mark seam for though. Was there we go. I think that's probably pretty good for that top part. Let's tab into edit mode and make sure we've got our scale uniform it is, but let's go ahead and apply the scale and make it all ones, just to be sure. And then I'm going to press the L key and I'll Shift click the seam here to turn that off. We select everything for that piece. Let's press Shift H to hide everything else. And then let's just give it a try. Let's press U and unwrap. And there we go. We've got a couple of strange little pieces here and here. Let's switch to conformal and see if that helps any. That does help these. But then it makes these strange. And I think this is this right here. So we can either try and fix the drawers or we can try and fix this curve here. Let's try and fix this curve here. And I think what I'll do is just UV map this area individually and UV map it as angle based. And I think that'll then straighten these up. So let's give that a try. I will press the L key here and turn on seam. So we just get that piece. And I'll do the same thing over here. Alright, so let's now unwrap these. And then once we do, we'll switch over to angle based and see how we do. Let's press you unwrap. Switch from conformal to angle based, and that's looking a little better. I think that's at least more straight. So now if we hit the a key and just temporarily we're going to have to do this again with everything. But let me just average island scale and pack islands here. And now you can see we've got these a little bit better there, a little bit straighter. So we'll see how that works once we put the UV test texture on there. But before we do that, let's go ahead and work on the legs of the table. So I'll press Alt H to bring those back. I think for these, these are just complex enough. I'm think I'm going to just UV map one and delete the others and then I'll duplicate and mirror them over again. So let's just select all of these real quick. I'm just hitting the L key and delete these, delete faces. And then I will press the L key to select these, and then Shift H to hide all the unselected parts. Inside here is gonna be the center. So let's mark our seams along here. Maybe I will get one in here, Let's say Alt Shift. And then on down here. Let's go ahead and mark the seam and we can see that a little clearer now. Alt click that. Let's mark that seem. All right, so there we've got it all the way up. For this here. We should probably select this face here and mark the edges for seams around that face. And then let's just take this edge and this edge. Let's hit you and Mark seam here just to have one there. To kind of open it up. All right, I think that should be good. Let's hit the a key. Let's hit you and unwrap. That's angle based. What about conformal triangle based? Again, kinda hard to tell. This here though. Oh see, I didn't delete this face right here. We need to select this and delete and delete faces. All right, So now I think that'll open up a little bit better. You can see that kind of held it together. Let's hit you and unwrap again. And what do we think? Yeah, actually not too bad. Let's try conformal. No, not a fan. And in fact, what we can do is we can take these points here. I'll switch from UV select mode two vertices select or UV select. Maybe I'll hit the R key and turn it just a bit and hit G and move it up just so it's kind of in line with that piece there. And this piece here. Let's take a look at this. I'm wondering if this needs to be a little bit straighter. This is curved. Well, let's go ahead and put the UV test texture on this. I'll pull this down over here in the material panels and let's choose UV test material. Let's then come over here to the material preview and let's take a look. Yeah, these aren't bad, but they're kind of angled. Must take this and let's hit our kind of spin them over like this. Let's try that. Yeah, see, they're kind of going at an angle here everywhere else. So that's not exactly what I'd want. We could take these and straighten them out. We can get the two key to go to Edge mode and alt click this edge. And then we could straighten this out by scaling it in the y-axis. We could press SYN 0, and that will flatten that up. I'll hit G and move that up a bit. And then we could take this one here. Let's try this. I'm going to bring it down SY 0. There we go. Let's bring this backup. Now for all of these things, I'm wondering if we should. I'm an edge mode here. Let's go to vertex select, so I can just select one of these. I'm wondering if we need to take these and let's press 0 to get them flattened, let's press G to bring them down a bit. Now you can see we're getting this. I'm going to press sx2, bring these in just a bit. Then I'm going to hit G and bring these down some. And now you can see over here, as I bring this down, it kind of brings them out to be more square. Maybe something like this. Let's spin around. That's not bad. That's kind of angle there. It's not great. I grant you. We would need to do a little bit more work on it, but I don't think it's really going to be that noticeable here. So I think that'll work just fine. All right, so now what we need to do, Let's press Alt H. I'll go back to solid mode. Let's select this and this. We want to move the 3D cursor to the origin of the objects so we can mirror around that 3D cursor. What Let's do is tab back into object mode, and now our selection point is here. So let's press Shift S2 to move the 3D cursor there. Tab back into edit mode. And now let's change to 3D cursor. Let's press the period key. Change to 3D cursor for our pivot point. Let's then duplicate the object shift D, enter, mirror it, Control M, Y, and enter. And there we go. Alright, so we've got that now. Let's put one in the backend place. I'll press the L key for this again, Let's go to the top view. I'll press Shift Z to go to wireframe. And then let's just press shift D and move this right up here. There we go. Now we can duplicate and mirror this one as well. So Shift, Enter, Control MY Enter. And there we go. Now that we've got all of that, we just need to do the handles. So let's work on those real quick. I'm just going to hit the L key and select all of these pieces here like this. Then let's press Shift H to hide everything. Now we know how to do these little circular pieces. Those were pretty easy the last time we just hit you and unwrap. And there we go. For those handles, we just need to add a seam on the back here, I'll press Alt, click you and Mark seem. Let's do that over here as well. Mark scheme. Now we just take these two and hit the L key and press U and unwrap. Now the little spheres here we call those. We really don't need to do anything because the UV map is just fine. Alright, let's press Alt H. There's everything. Let's hit the a key to select everything in the 3D view. Let's come over here to the UV editor. Hit the a key to select all the UV Islands. Let's average island scale. Then let's pack it all into the 0 to one space, pack island. And there we go. Looks pretty good. Everything seems to be going pretty much in the right direction. Let's come up here and turn on our UV test texture. There we go. All right, Let's bring everything else back. And there is our wall table. 55. 055 UV Mapping the Dining Chair: All right, well maybe now it's time for us to graduate from tables and maybe work on a chair. How about one of these? Let's do that. I'll pull this out of the furniture collection. I'll hit the M key and then choose Scene collection. And then let's take this wall table, drag it back into that furniture or collection. Let's hide that. And here we go. Now let's go over to UV Editing. And let's select our chair. Let's take a look at it. I guess I should go back to Solid mode here. And while we're here, let's make sure that we don't have any modifiers and we do not. That's good. Tab back into object mode and just check the scale. They are uniform, but let's just go ahead and press Control a and apply the scale. Alright, so I think what I should do here is allow blender to try his hand at UV mapping these higher density, these higher poly pieces like the two arms and the wood back of the chair here, these are pretty high poly and it would get really footsie to try and go in and assign seems in among all these edges. So let's just select these and see what smart UV project can do. I'll press U, Smart UV project. Let's change the island margin from 0 to 0.01. Let's do that. And then let's click. Okay. All right, well that's actually not bad. Everything seems to be going mainly in one direction except these things. We've got these kind of L shapes here for the arms. I'm not sure how those are going to come out with these pieces being perpendicular. We really won't know until we get a texture on it. My guess is it might be problematic, but let's wait to put the work in until we actually know for sure. I want to leave it like this until we get our textures on there. Continuing with the back of the chair, Let's select this back cushion of a press Shift H that'll hide everything. And we created this without a back here. So I think all we really need to do is just unwrap this. We can just press U and unwrap. And there we go. Let's change it from ankle based to conformal. That's pretty good. I like that better. Let's go to UV select mode. Click it and I'll hit the R key and spin it around so it's straight up and down there. Yeah, I think that looks pretty good. So let's press Alt H. What else now? Well, continuing down along the back here, let's go ahead and work on these back legs. So I'll press the L key to select them. Press Shift H. And for these it looks like we have faces on top that we don't need. I'll go ahead and delete those. Then on the bottom, we could delete these, but I do want to mention that if you've got a scene in which you may see the bottom of the furniture. You may not want to delete these. Say if you're creating this scene for a video game and the character is going to kick over the furniture or something like that. You may want to keep these. And if that's the case, all you really need to do is just select them and then hit you. And Mark seems so you just create a seam around there and break it out from the rest of the leg. Alright, so with that selected, let's go ahead and I was going to choose that one, but let's choose edges on the inside. Let's do that. Let's get those selected and press U and mark seam. Now let's hit the a key. Press U and unwrap. That looks pretty good. Let's try instead of conformal, Let's try angle based. It looks like there's almost no difference whatsoever, so either one is just fine for those. Alright, I'll press Alt H. And what else do we want to do here? How about this piece right here, the wood part under the seed, I'll just press the L key, Shift H. And let's take a look at this. Now. Here are two faces here that I'm not sure we need. Are we even going to see these? Let me tab into object mode and take a look. No, it really doesn't look like we see those at all, even underneath. Let's go ahead and just delete these delete faces and that just makes our life a little easier. I think the less we have to UV map, the better. I'm gonna select these two edges here and give them seems. And then I guess let's just create a seam all the way around here like that. Let's try that. Since this is once again the underside of the piece of furniture, I don't know that we need to be too concerned about what's going on there, but I'll go ahead and give that a seam there. Then let's just hit and you unwrap. That's conformal. We can try angle based. Know kind of like conformal a little bit better. Alright, So there we go. We've got that. Let's press Alt H. How about these legs here? I'll go ahead and do these individually. Shift H. And for these, once again, we want to put the seams on the inside. So I'll just select an edge here, maybe an edge here. And let's give this a siem mark seam. And down here we've got faces once again, so let's just select them. It you and Mark seem just like we did for the back legs. And then up here well, we've got faces up here that I don't think are ever going to be seen so we can delete these. And what about, oh, we've got faces in here at the top of those cylinders, so let's delete those. Now. I think we could select this face right here and this one, give these a seam all the way around there. Then what we can do is let's add a scene to this edged in line with this, you mark seam. And what I did the last time for one of these cubes is just selected this edge. But what I'm thinking is if we went around and selected each one of these edges, I think it would open up a little bit better. Let's test that. Let's press U and Mark seem, let's do the same thing over here. I'll take this and this. Let's go around. Markets seem for each of these as well. Here we go. So now if we hit the a key and press U and unwrap, what do we think? Look at that. Yeah, I think that came out a lot better. Let's try angle based. Kind of like conformal, a little bit better on these. We can take these and just turn them a little bit so they're straight up and down. We can do that. So is that everything? Let's take a look Alt H. Let's hit the a key and then come over here and hit the a key. Go to UV and average island scale. Then UV and pack island. What do we think now we can try unchecking the Rotate box here, see if that helps any. It does, although the problem is, is that it turns these the wrong way. So I think we need to keep it like this. That looks pretty good, but I think I forgot one thing. I think I forgot this right here. Yeah, I forgot to UV map this. So let's do this. Shift H under here. Let's go ahead and create a seem to break the bottom part out from the rest of it. And then I feel like we're gonna need to open up the corners a little bit so it doesn't curve down like this. Let's, let's try it back here. I'm going to Alt click here, and Alt Click Here. We go. Then maybe I'll just deselect these. So we just have these edges here. You and Mark scene. Let's try this. I'm going to press L. You unwrap. All right, Let's try angle based. Pretty much the same. What I'm thinking that this may need to be broken out on the corners as well. Let's go to material preview. Oh, and we need to add that material here. Let's do that. Let's take a look at it. This is what I was worried about. I don't mind some curving here, but I think that's too much. That's why I think we need to break out a scene here. Let's try that. I will go back to Solid mode. I can hit Z and go to solid here. And let's just take these edges right here. Marketing team here, and then do that same thing over here, I believe. Yeah, right here. Let's do that. And then once we mark that same, Let's hit the a key again, press U and unwrap and see what we think. Yes, see that, split that out on the corners as well. So we can tab into object mode and we've still got a bit of a curve there, but not as much as there was. I don't think this particular chair I think is gonna be interesting because we're not going to really know everything until we get a texture on it. So I'll tap back into edit mode. Let's press Alt H. Let's hit the a key over here to make sure everything is selected. And then let's go to UV average island scale and UV pack islands. All right. Does it help to rotate this at all? Not really. And in fact, what I'd like to do is maybe spin these. I'm gonna take this and press are 180. And I'll take this and do the same thing are 180. And let's make sure we're not overlapping any. I don't think we are. Let's take this and hit R and move this. This. And we could turn this if we wanted, we could press are 180 like that. And how about this one here? Same thing. Let's turn this one, R1, 180, just so I can get a sense of what these are doing here. Let's see if we can turn this one R9. Is that going to fit? Well, it's a little bit outside the bounds here. We need to get that in, but let me spin this one. Get it in place, and then maybe move it over just a little bit. Now we can select this and move this over just a bit. Like that. There we go. That's looking pretty good. I think everything's pretty much aligned the way we want it. And the last problem I see is these little guys right here, these squares. Think I want the wood grain to be going up and down on these and currently they'd be going horizontal. So let's take these and move them up here and turn them 90 degrees with R9 0. And let's just put those right here. Alright, we have our chair. Let's go ahead and take this. Go back to the layout, unhide the furniture collection. And there we go. 56. 056 UV Mapping the High Back Chair: All right, let's work on another chair here. How about one of these? Let's do that. Let's take this out of the furniture collection within them and Scene Collection. And then let's drag the dining chair into the furniture collection. Hide that. Here we go. I think before we do anything, we ought to put it back on the world axis. It's currently kind of angled. Well, Let's do is first of all, hit the period key and change from 3D cursor to median point here. Then let's hit the N key and we can take this Z rotation back to 0 by just clicking in here and hitting 0 and Enter. There we go. So now it's more on the global axis. Let's go to UV Editing here. I'll hit the a key, hit the period key, and here it is. Now, I was looking at this a little earlier and I see that there are a couple of problems with this. I was moving a little quick and forgot to do a couple of things. One, this kind of thing right here. And actually, this is the kind of thing I do quite often. I get to modeling something and just forget to put things in place. But the good thing is UV mapping is just a different kind of thing, a different way of looking at your model. And in doing so, you kind of see the problems. You pick up some of these issues that maybe would slip by if you weren't UV mapping. So in a sense, UV mapping can be kind of a second check on what you've done in the modeling stage. I think what I'll do is just move this up just a little bit here, something like this. Let me take this and move this down here. There's another issue as well. If I went to edge mode and pressed Alt and click, take a look at this. This edge does not extend all the way across this object. I think I know what did that. I think when I use the array modifier, There's one little checkbox I did not click. So why don't we go back and just take a look at that so we know what that's all about. I'm gonna hit Delete and delete faces for these, and I'm gonna take this and split it out into a new object. So with this selected, I'll just press the P key and separate by selection. All right, so now this is a new object here in object mode. Let's go ahead and add a new array modifier to this. And it's here in the x-axis. So that's good and I'll just increase the count so it extends all the way across again. Now, blood I forgot to check is this right here merge vertices. And when we do that, then apply the array modifier. What we then get is an object that's connected all the way across. Now when we Alt click that edge, it goes all the way. So that was an oversight on my part. But as I said, UV mapping is the time when some of these kinds of things can get fixed before moving on into the other parts of the project. While I'm here, I'm gonna go ahead and mark a seam along this edge. Then what I can do is tab into edit mode for the chair here and hit the L key and select all of these delete faces. Tab back into object mode. And now we can just press shift D and Z and move this down. Go to the side view. Press Shift Z. I'll tab into edit mode and let me just grab this and move it right over here. Kind of center it on this right here. Like that. Now, if I press Shift Z again, here are our two new pieces here. And this one, since it's a duplicate, already has the seam on it. All right, so I think we probably need to do this to the other pieces as well. Let me just do this side piece here. Once again, I'll press the L key and just select these. And then let's hit Delete and delete faces. Select this with the L key, split it out from that object, and now that it's in object mode on its own, Let's go ahead and add an array. This time it's going in the x, of course the way it was before. But now let's change it to the y. I'll type in 0 in the x, one in the y. And there it is. Now I can just increase the count until it extends all the way across. Once again, select Merge, and apply the array. There we go. Now if we spin back around in here and select this edge, it goes all the way across. So I'll go ahead and mark a seam there. I think what I'll do is select this over here with the L key again, each one of these And delete them. We go and now if we go back to this, I'll go ahead and tab into edit mode because I want to see it. I want to be able to press Shift dx and move it over here. But then I want to spin it to put the seam on the inside. So let me just press Shift Z here and get it centered on this thing right here. Then we need to spin it in the y-axis. So let's press R Y 180, that spins that around. So the seam is on the inside. We've got those four pieces now. Let's go ahead and do one more and then we'll continue working on the chair here. I will just take these four and I don't think I need to do this one now. Let me press Shift L because that's not part of this piece, is it? It doesn't extend all the way down. That's good. Let's just delete these three here. Then let's take this right here, split it out into its own object, tab back into object mode and select it. And now if we go to the array modifier, once again, it's going in the x-axis. Let's type 0 in the x and one in the z, and it's going up instead of down. So we just type in negative one in the z. Now we can increase our count down to here. And once again, turn on Merge. Apply. And now if we select these over here, like this, we can delete these. Take these tab into edit mode and find an appropriate place to put the SIM. Why don't we just put the seam right back here behind so we don't have to spin it when we move it over. Let's just do that. And we can select everything. Go to the front view and press Shift DX. And let's just move this over a bit about like that. All right, so now we've fixed all of that. Let's go ahead and select all of these now. And then we'll press Shift and click the rest of the chair and press Control J to join all those objects together. Now when we tab into edit mode, they're all there. We have our seams. Oh, well, there is one here that I didn't get. Let's add this one with Control J. There we go. Now if we tab into edit mode, we can see all of those, the seams are already on them. And while we're here, let's go ahead and select all of the little squares or cubes, I should say, these little cubes right in here. And let's just use smart UV project to unwrap all of these because there's really no reason for us to go through and apply seems for each one of these tiny little things, I think it'll be just fine. If we let blender do the work on this one. Let me get this right here. There we go. Now that we have all of those selected list, if you click Smart UV project, Let's add an island margin of say, 0.01. And let's click OK. Now they look a little stretched here, don't they? So let's tap back into object mode and press the N key. And sure enough, our scale is not uniform and I think that's what's causing the problem. Let's press Control a and apply the scale. Then let's tap back into edit mode. Let's try this again. You smart UV project. Click. Okay, yeah, that looks better. All right, so I'll just hit the a key and I'm going to press G and just move these out of the 0 to one space for now, just move them out so they don't clutter up this here while we're doing other things. Now, I'll just go through and grab all of these, everything that we've applied a seem to. Now, let's use UV. Unwrap here. And there we go. Now we can try it with angle based. Yeah, I don't think I like that. Those are a little too curved. So let's go back to conformal. The ends kind of curve a bit, but everything else is pretty straight. All right, so we've got part of the chair done in the next video. Let's go ahead and finish it up. 57. 057 Finishing the High Back Chair: To continue with the chair, Let's working on the seat now. Let's just hover over this and press the L key. And I'll press Shift H to hide everything else. Under here. Let's just Alt click. Well, let's alt click this edge right in here. Just going to grab this collection of edges right in here. And then I'll press U and mark seams. And from here I think we can just press Alt and click the corners. Now, alt Shift click and just go up to that corner right there. Let's try that. Let's hit you. And Mark scene. Alright. Now let's hit the a key, press U, and unwrap. Let's take a look at it with animal-based. I feel like it's a little closer to the real thing with conformal. Once again, I've got the margin at 0.01, just giving us a little tiny bit between the islands. Now let's press Alt H to bring everything else back. And let's work on the back of the chair here I'll hit the L key, Shift H, I'll hit the period key to zoom in. For this as well. I think we just need to select this edge all the way around. It looks like it goes right down here. And all the way right here. Yeah, let's go with this. Let's try this. You mark scheme. And then once again, let's add these corners here all the way around. Like this. And like this. There we go. Now, once again, let's add seems there. Press a you and unwrap. Yeah, I think that looks pretty good. If we switch to angle based. Doesn't look quite as clean to me. I mean, it's really kind of 601.5 dozen of the other here. The differences are pretty minimal, so let's press Alt H to bring that back. And now let's take a look at the back legs here. Let's hit the L key for these shift H. I don't think we need these faces on the top. And how do we? I don't think so. Let me tab into object mode. Yeah, that's completely covered there. And for the bottom, once again, we can just select these and hit you. And Mark seem to break those out. Then to add seems to this. Do we want them on the very back or do we want on the inside? Let's go ahead and try on the inside here I'll press Alt and click, oh, let me switch to edge mode with two key alt. Click here. Then you mark seam and the same thing over here. And mark seen. Now let's hit the a key and try these you and unwrap. That is conformal. Angle based, that cleans it up a little bit better. I think angle based makes them a little bit straighter. So let's go with that. Alt H. What else do we need to do here? Well, I think we need these little pieces right in here. It looks like I've already deleted the bottom face of these. So let's just then select this edge, u and mark seam and this edge. Same thing here. Alright. Then let's just press the L key for each of these you and unwrap. Let's try conformal. Know I like angle based till little more uniform there. Okay, so we have all of that now. We've got the legs. These pieces. Yeah, I think that's everything. So now let's hit the a key to select it all. And then over here, recall we have all these small pieces as well. Let's hit the a key for all of this. And what we can do here is use our average island scale and pack islands. However, I'm thinking that what we can do is keep these the way they are. Just scale them down as needed. Because what it's gonna do is it's going to apply or disperse these throughout the 0 to one space. It's just going to do it randomly wherever it can find room. That could be okay, But let me just show you what you can do if you want. We can select these only here. Then go to UV average island scale, UV pack islands. Here we go. Now if we want to, we can then take these and just put them anywhere. They'll fit. It can hit the S key and scale him down and bring them up here. And maybe just put them in here where they could maybe fit like this and make them as big as we can, but still, so they don't overlap like that and they stay in that 0 to one space. That just allows us to keep Blender from taking all of these small pieces and randomly putting them all over the place. It's not a big deal. I just wanted to show you that you can make decisions and just choose to average island scale and pack Islands for a certain collection of UVA islands while manually placing the others. All right, so let's take a look at our material preview and oh, we need to add a material. Let's do that. Let's pull this down and that, and let's take a look at what we have here. You can see that the squares for these little cubes, these little pieces here are slightly different than the rest may be slightly bigger because we had to scale them down a little smaller. But I don't think that will really be a problem. I think these are separate enough pieces on the chair that having the wood grain slightly different than the rest, I don't think is going to really hurt it. So you just have to consider what you want if you want them all to be exactly the same size and grain, then maybe you do want to select everything average island scale, and then let blender pack it all in, totally up to you. All right, let's go back to the layout tab. Go to material preview. Let's bring everything else back. Here we go. We could take this chair and just delete that. We can take this and press RZ 180 and spin it around. Then we can press Shift T and X and duplicate this. So we have those same thing here. We could delete that and duplicate this. And of course the wall tables as well, we can delete that so that any others we use will be duplicated off of this. Alright, in the next video, let's work on another chair. 58. 058 UV Mapping the Arm Chair: All right. I think we're on a roll with chairs. Let's keep going here. Let's maybe get this one the armchair. Let's first of all bring it out, hit the M key, bringing out in the scene collection. And then let's take these two chairs that we were just working on and move those into the furniture collection is high. The furniture, and let's spin this around. So it's in the world axes here. Let's take this z-axis and type zeros, so it's aligned with the global axis. Let's also go ahead while we're here and apply to scale. I'll press Control a and apply the scale. And let's go over the UV Editing tab. Hit the a key, hit the period key. Here it is. Let's switch to shaded mode. What are we gonna do with this now? Well, let's begin easy. I think we can just take these right here. If I recall. These don't have a back to them. Let's press Shift H and C. Yeah, they don't have a back to them, so I think we can just hit you and unwrap. There we go. That looks just fine. We could test conformal, maybe a little better. Sure why not? Let's go ahead and go with that. Press Alt H and see what else we could do. What else is easy here. How about the back legs? Let's select those and hit Shift H. And let's take a look at these. They do not seem to have any faces on the top or the bottom. Let's just put seams right here on the inside. You and Mark scene, and let's select it all hit you and unwrap. And there we go. We can try angle based and hand conformal. Not much of a difference at all. So I think I'll just go with that. Let's press Alt H and see what else. How about the other legs? Let's hit the L key for these Alt H. And for these it looks like there are faces on the top and on the bottom here. So let's go ahead and select those and delete those faces. Let's do that. And I'll grab this one here. That will just make our lives a little easier. Then let's go on the inside here. And let's just select an edge here. And we'll select an edge here. Mark seams for that. Let's unwrap it. That does not look very good. So let's try angle based. Oh yeah, that's much better. Let's go with that. Alt H and let's see what else we want to do. How about this cushion? Select the L key for that shift H, and let's see what we want to do for this. Well, we're probably going to want to split off the bottom. Let's go ahead and do that. I'll select these edges all the way around the bottom here. Here. Let's do that. Let's place a seam along there. I think we should get the edges back here as well. We're not going to see these, I don't think so. We can get all of those. We're going to need something to split up here. I wonder if we could just place an edge right in here. I'm going to press Control and click there to connect those up. And market scene for that. This down here control-click you and Mark scene for that. Let's see if that'll work. If we can just put a seam there and it'll just open up like that. There's a chance, there's a chance that that might work. Let's hit the L key, you and unwrap. Let's take a look. Yeah, it looks like we've got the split open without overlap, although no, there isn't overlap there. I was thinking that maybe this and this were overlapped, but I don't think they are for either side, so that's good. Let's give that a try. Actually, let me test the other method I'll unwrap again and let's try conformal and just see what happens here. For this, it looks like there may be a little overlap here. You can see that we don't want that. So let's go back to ankle based. I think that'll work. Okay. Alright, let's press Alt H and we're gonna need to think about this trim here. Why don't we do that? Let's just hover over these and press the L key here. Unless press Shift H and take a look at this. Now, what do we want to do with this? We could just hit the a key and use smart UV project and see what happens. I'll give it an island margin of 0.01 here and click Okay. Alright, that's possible, although that's gonna take up a lot of room, it isn't gonna put anything in the center of these. If we use pack island, that's going to take up some room. Can we split these up in a better way? Well, we could try, you know, what we could do? We could try, first of all to just put seams along the bottom here. Let's do that. So we know we've got them split out down here. Let's do the same thing on the back of these here. Alt click and market scene here. And over here as well. All right, so we know we've done that. Let's let me select them and press U and unwrap. Well, that gives us a very long one right there. I'm not sure what that is there. Maybe we could find some edges right along in here, like we did for the cushion and hide these away in here. We could maybe do the same thing on the back corner like we did with the cushion. We're just kind of mirroring or replicating what we did for the cushion here. Let's just try this and see maybe this corner and this corner. Let's try that. And then of course over here, we want to get these. Let's try this. Let's select all of this, hit you and unwrap. And let's take a look. We've still got this very long piece. Let me turn on UV sink over here and just select this piece right here. And let's see what it is. That piece, it didn't seem to go. It looks like this UV or this edge right here didn't get CME is all the way around. So for some reason this particular seam isn't breaking up the UVs there. So what I'm gonna do is remove this seam you and clear scene, and then Alt click the next seam here. Let's just try this. You and Mark seen. Now what I can do is hit the L key. There we go in with siem turned on. You can see that that's split it up. All right, Let's try over here. I'll hit the L key. Yeah, that works. Oh, look at this. It looks like these aren't merged together here. They're not. I don't think that's going to be a problem, but maybe something like this was happening over on that edge. Alright, Well, let's give it a try again. Let's hit a and U and unwrap. And there we go. Now, that makes them a little bit smaller there. Alright, so it's sometimes good to have little problem to see how we can solve that. For the next piece, let's work on this. I'll press Shift H. For this. I think I want to select these edges right in here, all the way around. Let's do that. You mark seam. And then let's of course do the ones on the bottom. Let's do that. Take these all the way around you and Mark scene. Let's get the ones on the back, maybe right here. Let's try this. All the way up here and around down to there. You and Mark seem oh, I forgot this one right here. So I'll press U and Mark scene. Then. I think we're gonna need to break this out right here. The front part. Let's get this. And this area right here to kind of split out that front part of the arm. And also I think we're gonna need to split this out right here. Let's bring this all the way down. This here. Let's do all the way around like this. We go, we've got several kind of areas here. Let's hit the L key to make sure that they're gonna hold. Yeah, they're holding better than that trim did. That's good. I'm just going through and hitting the L key. Let's give this a try. Let's see how this works. So I'll hit the a key you and unwrap. That's good except for this area right here, I feel like that's pulling a little too much. So let's see if we can just add an edge. Well, we're either going to have to come out like this or down like this. I'll go ahead and give it a try like this. And here I'll mark a seam. Here we go. Now let's give it another try. A you unwrap. Yeah, that looks pretty good. All right. Let's bring everything back. Let's go to material preview. I had the test material and we need to go through and average island scale for all of these. So let's tab into edit mode. Make sure we've selected everything over here. When we do, you can see that all the squares are a lot more uniform now we've still got a few that are pulled here because of this. And we may want to deal with this a little bit better. Would it help if we added a seam here? I wonder. Let's try that. Back here. Let's try again. You unwrap. That helped a little, maybe let's see. Yeah, I think that helped a little. Let's go ahead and try it over here again with average island scale and pack islands. There we go. We've got some seems here that may not work when we put our textures on. But I think there are some tools in substance painter that will help us smooth out those seams. 59. 059 UV Mapping the Desk Chair: Well, let's go back and work on that desk chair. It's pretty similar to this. I think let's bring everything back. And what I'll do is just take this and spin it in the z-axis, RZ 1 eighth 0. Let's delete this one and then just duplicate this and move it over like that. Then let's take this and move it out into the scene collection and take our armchairs back in to the furniture collection. All right, now, this is similar but it has some differences. Let's go back over to the UV tab. Let's hit the a key and the period key on also hit Z and goto solid mode. And while we're here, let's select it and hit the N key and we better apply our scale. Control a, apply the scale. All right, now, I guess let's just begin with the seat cushion. First. Let's hit the L key and then press Shift H. And I think we can just maybe select these edges right along here, like this. And marker seems there. And then we can select these edges along the corners as well. Let's try this. There we go. Then let's just hit the a key EU and unwrap and see what happens. Well, there's angle based. There's conformal. Maybe I'll go with conformal. In fact, what we could do is we can hit the Z key and go to material preview. Go ahead and add our checker pattern. And then we can kind of see the difference. So if I switch from conformal to angle face, you can see the checker pattern move just a little bit because it's changing shape over here and it looks to me like conformal is a better unwrapped for our texture here. Alright, so I'll press Alt H. And with the checker pattern applied, you can see it's all smeared and stretched. And that's why we're going through and doing this. That's why we're UV mapping is so any texture we put on here will look good and won't be stretched or distorted. I'll hit the L key here, shift H, and let's try this one. Looks like just a similar process. Let's just find some edges all the way around here, something like this. And then we'll grab these seams are these edges as well and add seems to these. Then I think we can just hit a U and unwrap and see how we do. Once again, we can take a look at our checker pattern here and see if it changes when we go to angle based and it looks like it skews it just a little bit. Yeah, I'm gonna go with conformal again. Alright, let's go ahead and press Alt H, and let's work on this one right here. Same thing. And I think this one maybe we only need one edge. Question mark. Let's see. What if we just go along this edge right here. Mark a seam and then we don't do any of the corner edges. Let's try this. You and unwrap. Yeah, that's actually not too bad. Let's go with that. All right, Alt H. Now let's think about this down here. I think this is going to be a good candidate for smart UV project, these legs here. So I think what I'll do first of all is just select this with the L key and press Shift H. Then this was the front, wasn't it? I think it was. What Let's do is let's just mark as seen here in the front. Because if you recall, the chair's gonna be pushed up to the desk. So we really aren't gonna be seeing the front of the chair. I think this will be a good place to put a scene. Let's hit a U and unwrap. And there we go. Oh, and it looks like I've got UV sinks still turned on. I'm gonna go ahead and turn that off. That would only be a problem if I tried to move the UVs around manually. Alright, so let's press Alt H again. Now let's grab this. I think all I'm gonna do for this is just, as I said, use smart UV project, just press U. And smart UV project. I'll put an island margin of 0.01 and click Okay. Yeah, I think that'll work just fine. These are all going in the right direction or in the same direction. This down here is the bottom of these. So I'm really not too concerned about those. So I think that'll be just fine. Let's go with that. For these down here, these spheres, the checker pattern isn't square. So it is kind of squished. But I mean, it's the kind of thing where we could press SY and go like this. They would be square. But I don't think we really need to do that. These are going to be so small and they're really just going to be one plain color. I don't think that's gonna be a problem. These, however, right here, we could go through and just UV, unwrap these right here. Let's do that. And one more here. Let's just take these and since they're open on the bottom, Let's see it you and just click unwrap. And there we go. I think that'll be fine. Now for these little guys. I think I wanted to do what I did with this and just add a seam on the inside. Let's just select each one of these with the L key, this shift H. And then all I want to do is just go through and add CME for each one of these kind of tedious. I have to admit, but I think it'll be okay. Then there's this one here. Let's just add a seem right there. All right, so we've got all of those. Let's just select them all hit you and unwrap. And there they are. That's fine. Alt H. Now let's look at this right here. Shift H for this. Well, let me hit the Z key and go-to salad so it's a little easier to see. I think I'd like to just I'll just grab these edges right along here. But then I think I want to shift click this, then control-click this, then de-select these here. Then add a seam around there. I think I'd like to add a seam going up here like this. I'll hit you and Mark seem there. Then I'll just Alt Shift, click on around here like this. And on down. And let's do the same thing over here. So I'm going to select all of these all the way around. Instead of going here, I want it to go this way to connect with this. So let's mark a seam there. I want to mark as siem all the way around the bottom here, right here. Let's do that. So it connects with those seams there, like this. Then I want to connect these here. For the back. They all connect up like this. What else? Well, we should probably do a similar thing that we did for the last one, maybe underneath here and then over the top and down into here. Let's do that. Maybe like this. On down around underneath the arm there. Is that enough? Is that going to do it? I feel like we're probably going to need one along here or here. Or maybe underneath these cushions on the back. Maybe we could split this out. And no one would see that. Let's try that. All right, so let's hit a U and unwrap. Conformal is not doing great. Let's try angle based. That's a little more uniform, but it's still looking kinda odd, isn't it? There's something that's not quite even about this. It could be that since we have that piece over the top here, we might be able to just take this edge right here and give it a seam. And maybe that'll help. Let's try this. I'm going to add a seam here. And on round down to here. I didn't do it here in today. Let me go back and get that. Let's give this a try again. Let's try a U and unwrap. And that's a little better. Actually, these L-shaped pieces may not be the greatest. We may not want to do that. Let's see what it looks like when we go to material preview. Let's take a look here. Well, I think we've done a pretty good job of hiding seems underneath these cushions. It doesn't look too bad actually. These checker patterns here are kind of angled. But I don't know that that's really going to be a problem. Let's take it all, and let's press Alt H here. And then let's take it all and come over here to the UV editor and hit the a key as well. Let's go to UV average island scale, UV pack islands. Let's see how it did. Tab back into object mode. And let's take a look. Actually, that's not too bad. I think that may actually work better than the last chair. But as I said, there are a couple of tools that will help us hide seems when we get to Substance Painter, That's always a possibility there. All right, let's go back to our layout tab. Bring back the rest of the furniture. For the next video. How about we work on the desk? Let's give that a try. 60. 060 UV Mapping the Desk: So to start working on the desk, Let's hide the furniture. We ought to bring it out from the furniture. Let's take that press M and bring it out into the scene collection. And then we can take the desk chair, drag it in to the furniture collection and hide that. Alright, so now let's go over to our UV Editing. I'm going to hit a period key. And let's just see how blender handles this with smart UV project. Let me press the Z key and go to solid view. Because I think this is just complex enough to just see what blender can do with it. I get the feeling that we're gonna have to do quite a bit of work. But let's see what blender can do. Let's hit you smart UV project. Let's add an island margin of 0.01. And let's click Okay. And wow, that's just way too many pieces. That's not gonna work. Now we can play with the angle limit here. And basically the higher you put it say up to 89 degrees because that's his high as it goes. It will try and break up things or add seems to edges that are no less than 89 degrees. You can also take it down to 0 degrees if you want. Breaks out almost everything. That's not really going to work for us is it? We're gonna have to try and be clever and see what we can do with this. First of all, I think just right up front, I probably want to just break out the top. Let's just press Alt, click on this edge, and let's just press U. And markets seem they're just all the way around. In addition, Let's do that to this trim here. Let's add a seam here, you mark seam, and let's try that. Now. If we just selected this up here with the L key, would select everything until we came down here and selected seem. Then we could UV map that, but I think we probably should tab into object mode, hit the End key, and let's go ahead and apply our scale. So it's all ones. Let's do that. Then. Here in edit mode, I'll just hit you and unwrap. And there's that now we can change it from angle based to conformal and maybe clean up those edges a bit. That's not bad. Let's do that just to keep things from getting all jumbled in here, I'm gonna hit the G key and move this out outside the 0 to one space for now. Then this trim, if we tried to UV map this, now it'd just be a rectangle. And I don't think we want to do that. I think we're gonna need to add a couple of edges here. Let's add an edge right along here. Well, we don't want to press Alt and click because that'll select that whole thing. We could click here on this edge, let's say, and then come down around here and Control click this. And then hit you and Mark scene. And let's do that over here as well. So I'll select this and I'll hit the period key and zoom in. Select this, control-click this. And let's add a seam here. I'm just trying to add seems to break up this really long strip all the way around. Well, let's just do that here as well. I guess on the side, here and here. Then let's go around to the other side and do that as well. I'll click here, control-click here, add a seam, and there we go. So now what Let's do is let's just hit the L key for each of these parts right along here. And let's see how these come out. You unwrap. That's pretty good. Let's take a look at angle based. I kind of like conformal a little better. The main parts are straight. The little curves are having some problems, but I think that's okay. Let's now work on the drawers here. Why don't we mark seams around each of the drawers and then UV map these on their own. Let's do that. I'm just pressing Alt and Shift and clicking around here. You and Mark seem. Let's do this up here. And let's also get all of these drawers as well. You and Mark Scheme. And now that we've got all those lists, then go to face mode and just press the L key for each of these. Like this. Look how much it was broken up with smart UV project. All right, let's go ahead and press U and unwrap. There we go. Now, this is looking a little pulled. Let's try angle based and that's even more so. Let's go back to conformal. I like this. What we can do with this here is just press Alt and click that and we could just scale it in SY and pull it in just a little bit like that. See if that helps. Of course, to see if that helps, we're gonna have to. In our UV test materials. So what I'll do is come over here and grab that, and then press Z and go-to material preview. Alright, so we can see them there. Yeah, that's actually pretty good. I think that'll work just fine. Z and back to Solid View. So now let's work on these over here. Actually, before I do that, let me just grab all of these again and I want to move them out of the 0 to one space over here, kind of like we did before. I'm just move them up. Here. We go. We could also take these if we wanted and move these out. I'm just trying to stay organized here in G and move these out. This is a complicated enough piece that I'm really trying to stay organized so I can understand what we've done and what we have. And so if I hit the a key, you can see that these are the things we've done out here and these are the things that we haven't just trying to stay organized as all. Let me move these over here. And I'll move these down here. I think this may help us as we go just to be able to see what's been done and what hasn't. Let's work on this up on top here. Let's take this, Let's see Alt Shift. Yeah, let's, let's take this edge right along here. And mark is seen for this, it's kind of hidden underneath this little ridge. I think that'll be a good place for that seem. Let's go ahead and do that. I'm going to keep coming around here. This then all the way around until we get back to where we started right here. Let's see at you. And Mark seems so there we go. We've got that piece on top, broken out from everything on the bottom. Now what Let's do is break these out like this. There we go. So I'm just trying to get that seem all the way up that trim there. And let's do that back here as well. There at this seam or this edge as well. Alright, so if we press Shift Z, this is what we have so far. I did notice that while I was adding the scene, we have faces down here and as I said, I don't plan to kick over the furniture. So I think I'm gonna go ahead and get rid of d's. And what I can do is hit the C key for circle select. And then I can just drag, click and drag and paint this selection here. And then right-click Delete and delete faces. Let's do that again. I'll hit the C key and then paint this selection here. Delete and delete faces. There we go. So we don't need to deal with those down there. Alright, let's see where we are Now. I'm gonna go ahead and press the L key. And the problem is I haven't gone through and put seams around these little panels here and I feel like I should do that. I'm gonna go ahead and do that. Hit you and Mark seam here. Now I've got a panel inside a panel. What do I want to do with this? I think I'll go ahead and mark the seam on the outside and let that inner panel just kind of live in there. And then let's go get these panels here. I'm just marking the seam on the very outside of them. That's all. We got those in, pretty much the same way that we did the drawers. We can come through here now and select each of these and go ahead and UV map these and see if we want to do them with conformal or ankle based. And that's one of the main reasons, again, why I'm breaking these up into pieces and UV mapping them individually is because I'm able to choose conformal or angle based depending on what is needed. If you just UV map the entire thing all at once, then you only have one option for the whole thing, either conformal or animal-based. I'm just trying to keep my options open here. Alright, you and unwrap. We can try angle based. Now, let's do conformal. There we go for these and we'll go ahead and select these and hit G and move these out of here. Now when we hit the a key, we can see what we've UV mapped. We can also see what we haven't yet. So if I de-select everything over here, turned on UV sink and then clicked and drag these. You can see that this is what we still have to do. All right, I'll turn UV Sync off for a minute. In the next video, we'll continue on with the rest of the desk. 61. 061 Finishing the Desk: All right, To continue with the desk, let's go ahead and just hit the a key so we can take a look at all of this. Once again, I'll turn on UV sink and I'll just click and drag what still in here. And this gives us a sense of what still needs to be done. So, well, let's do now is UV map this area in here. So if I hit the L key right here, you can see it just travels all the way over here. Let's just add a seam up in here, right here, right here. Then let's see if it goes out too far on the other side. No, I think that's good. Let's go ahead and press U. And Mark seems there. Then we could go ahead and press L. Over here. I'll turn off UV sink for now. Once again, you can see how many pieces that blender broke it up into. Let's hit you and unwrap. And there we go. That's a little bit better. Once again, I'll take these, let's just hit G and move them out at the a key over here. And now we can see them all. I'll move this over here like this. So we're just getting them all lined up out here, ready to be packed into the 0 to one space when we're all done. Right, so now what about this area? Let me just hit the L key here. Let's see what happens if we try and UV unwrapped these. I think what's going to happen is we're going to need to add an edge along in here to split up this long piece here. But let's give it a try. Let's hit you and unwrapped. It's not terrible and actually let me triangle base. No, that's not as good. So all of this, it looks to me like if we press R9 0 and then negative, there we go and hit Enter. It looks to me like this isn't bad. There's gonna be some times in which we're going to begin applying our textures. And it isn't going to go the way we hope it would. And that's fine. That's just part of the process. But for now, let's go ahead and go with this. And I'll put this out here again. Then what else do we need to do? Well, let's once again hit the a key turn on UV sink over here. Drag select this, and we've got this top part still to go up here. And we've got all of the drawer poles. This back panel here. Let's take a look at that panel on the back real quick. I'll just go to face mode, hit the L key. And let's take a look at it. Here it is here. I wonder if we could just use smart UV project for that. Let me turn off UV sink. You smart UV project. We've got it at 66 degrees 0.01 island margin and yeah, that looks just fine. Why don't we just go with that. I'll hit G, move that out. Let's hit the a key over here so we can see everything and I'll just move that over here. All right, Once again, what do we have? Let's turn on UV, sink, drag, select these, and we've got that top part and all the handles. And these little guys right in here, we can take care of those real quick. We can just hit L for each of those. Turn off UV sync. We can do the same thing. We can just hit smart UV project on this, and there we go. Fine. That'll work. All right, so now once again, I'll take this, move these over here. So we are getting there. Now. We've got this top piece here. Let's hit the L key for that. It looks like it's just in pieces now because we created seems here. So let's go through, select each one of these pieces. This, then let's see what we can do with this. You unwrap. There we go. Let's try angle based. Not really. How about conformal again? Sure, let's do that. I'll get these and I'll move them out of the 0 to one space. Hit the a key. Here it is. Move it over here just so we keep organized. Now it looks to me like all of these are just those drawer pulls. Look at how many pieces it broke it up into. That's crazy. Let's just drag select that and yet that's all that is. Or just the little drawer poles, so we don't want it to look like that. That's a little too much. What Let's do is let's just take these and we could go through and UV map each and every one of these. But I think what I'm gonna do again is just delete all but one. We go. I hit delete and delete faces and then just unwrap one of them. Then once that's done, duplicate it for all the others. I think that's gonna be easier than going through and trying to UV map each and every one. So let's press Shift H and zoom in here. What do we want to do with this? I think first of all, I'm just going to take this and create a seam right here. So this will break out on its own. If I hit the L key and you and unwrap, it'll just be like that. That's good. I think I can create a seam right here. Let's do that. Alright, and then if we hit the L key here, we can see that split. If we Alt click this, we can add one here. And then I think on the bottom, I'll add a seem to this. Then what that should do is if we take that and just hit you and unwrap, it'll just lay it out flat in a strip. We could also just do this one as well. See what this looks like. Yeah, that'd be fine. For these. Let's add an edge here. Or a seam, I should say. Oh, let's get rid of this. We don't need that. There we go. Let's add a seem right down here as well. So that if we select this, it'll look something like that. And if we select this, it'll look something like that. Alright, so we could now just select all of this, hit you and unwrap and just see it altogether. And that'll be fine. Now that we've done that, let's prepare it to be duplicated. For that, I think I want to move the 3D cursor here, Shift S two. Then let's take this whole thing right here and split it out as its own object. Recall to do that, you just hit the P key and choose separate by selection. There we go. Now if we tab back into object mode, select that. We just need to move the object origin to the 3D cursor. So let's come up here to object, set origin, origin to 3D cursor. Now we just go through the process of duplicating and snapping this to each one of the drawers, just like we did when we originally created this. Let's tab into edit mode and sense it was hidden. We need to press Alt H to bring it back. And then what Let's do is just with the three key, select a face. And let's move that 3D cursor to here, shift S2. Now we tap back into object mode, select that, duplicate it with Shift D, and Enter. Then move this to the 3D cursor, Shift S and the eight key or selection to cursor. There we go. Now we just do that for all of the drawer handles on this side and then we'll just mirror them over to the other. So let's select this, select this face shift S2 to move the cursor there. Select this object. Now in object mode, Shift, Enter, Shift S eight. There we go. Alright, one more time. Let's select this shift S2. Grab this one and duplicate it, and then shift SA2, the 3D cursor, and the last one on this side, Let's just select this face, shift S2, grab a drawer handle, Shift, Enter, Shift S8. There we go. Now, let's take this 3D cursor and move it into the center of the object where the object origin is with shift S2 again. Then we can take all of these, select each one of these, change our pivot point to the 3D cursor with period 3D cursor. And now we can mirror these over to the other side. Shift D, Enter Control M and the X key, and then Enter, and there we go. Now we take all of these, select the desk and join them together with Control J. Now, if we tap back into edit mode, we've got everything here. If we hit a, here's everything now. Let's hit the a key over here. Come up here to UV, average island scale, UV pack islands. And let's take a look at it. What do we think? Well, maybe not too bad. Let's come over here, hit the Z key and material preview. If we tap into object mode, Let's take a look at it. Well, it looks pretty good in terms of all the squares being about the same size. And I'm not seeing any horrible stretching. The real test is going to be whether we have all of the UVA Islands going the correct direction. Do we want all of the wood grain going this way? And frankly, this is gonna be hard to figure out without having a texture on it. We're really going to have to put that wood texture on, figure out which way the grain is going on all the drawers and individual panels. And then we may need to turn a few of these UV islands to get them going in the direction that we want. But that at least for now is the UV map for our desk. Let's go back to the Layout tab and let's bring everything back or all the furniture back. Here we go. We've just got a couple of things to go. On our couch and our chairs will begin those in the next video. 62. 062 UV Mapping the Sofa: All right, well now we've got the couch in these chairs, so let's bring the couch out first. I'll just hit the M key and bring it out to the scene collection. Drop the desk in here, hide that away. Let's go over to our UV Editing tab. Hit the a key, the period key. I'll also hit Z and go to Solid View. And so here we are. Now, it looks to me like we've still got a subdivision surface modifier on this. So let's come over here to the modifiers panel and sure enough, and we have a mirror. I think we're going to need to apply that in mirror. First of all, we've got clipping enabled. So let's just tap into object mode, pull this down and click Apply. And there we go. We've applied the mirror. Now, the next thing we should do is deal with the subdivisions. I really don't want to keep the subdivision surface modifier on here, mainly because we're taking these into Substance Painter to do the texturing and blender modifiers or modifiers from any program really don't transfer from one to another. So things like modifiers, materials, things like that, don't really transfer well from one 3D program to another. It's just the nature of the beast. Each program has its own set of materials, has its own modifiers, things like that. So we really need to apply them here to see what it's going to look like when we apply this modifier list tab back into object mode. Let's hit the Z key and go to wireframe. Then let's turn off this optimal display. Right there is what it's going to look like if we apply to the subdivision surface modifier at viewport level two, that's fairly high poly. Let's bring this down to here. And there's viewport level one. And if we applied the modifier like this, That's not bad. But let's go back to solid and see how it looks. It's a little bit blockier. If we bring it up to two, it's a lot smoother. But do we want all those polys? It's really up to you. It's up to you and what you're doing with your particular project. The good thing is, is if you're doing a video game in Unreal five now the newest Unreal Engine, you can begin to use more polys. The future is bright for, for not having to worry about how many polygons you're using. But for now we're still going to go ahead and have it be a concern. So I'm gonna I'm gonna take this down to one. And you can certainly keep it at two if you like. But one thing I've noticed though, is that these down here, let me, let me show you what I mean down here. If we hit the Z key and go to wireframe, look how many polygons just viewport level one is going to do. If I turn off the real-time display, you can see there's what they actually are. There's how many polygons it'll have with just viewport level one up to two. It's way too much. One thing I think I'd like to do first is split these off, split the feet off from the rest of the object before I apply the subdivision surface modifier because I don't need that many polys in these feet. Let's tab into edit mode and just hit the L key and select each one of these. And then I'm gonna hit the P key and separate those out as their own objects. So here we go. We can see them over here. Right here. I'll just call these feet for now. Now with the sofa. Let's go ahead and apply this subdivision surface modifier. I'll pull the menu down. Click Apply. And there we go. Now when we tab into edit mode, that's what we get and that's not too bad. Down here though, if we choose those feet, we still have that subdivision surface modifier. So let's just hit the X and delete it so we don't need that. We were gonna keep this amount of polygons on those feet. Now that we've done that, let's add them back to the sofa object, Control J. There we go. So now everything is back. We've applied the subdivision surface modifier without overdoing the polygons on the feet there. Alright, so what should we do first? How about these things right here? Let's just hit the L key. For these panels up-front, I'll press Shift H and let's tumble around and take a look. Yeah. They don't have anything on the back, so we should just be able to unwrap these without a problem. I see currently that I'm in 3D cursor pivot point over here, I'm just going to change that back to median. While I'm here, I'll just move that cursor back to the center of the grid with shift S1. And there we go. Now, before we do anything recall, we should probably take a look at the scale. Let's tab into object mode. Hit the End key. And sure enough, these are completely non-uniform. So let's press Control a and apply to scale. Those are all ones. Things should work a little better. Now, let's tap back into edit mode. Let's hit you and unwrap. And there we go. We've got conformal and we've got angle based. I'm thinking conformal. That's pretty good. And I'm gonna do a similar thing that I did before. I'm going to hit the a key and the G key and move these out of the 0 to one space. Just temporarily while we're working. I'll press Alt H and let's see what else can we do here? How about this cushion, the L key Shift H? And then let's just select this whole edge loop all the way around on the bottom. And let's add a seam there. Then I'll just go through each of the corners here. Select these, and then hit you and Mark seem. All right, so now let's hit a, you unwrap. Well, there's conformal angle based. Really doesn't matter a whole lot I kind of like this. Once again, I'll hit the a key, hit the G key. Let's press Alt H to bring everything back. And now I can just grab these and move them over a bit. I'll just drag, select these here, like that. There we go. Alright, so now we've got the panels and the cushion. Why don't we do the legs now or the feet, I should say. Let's grab these shift H for these, I think I'm just going to go into the center right here. Here's the object origin. Then just Alt click, Alt click, vertical edge. There we go. You and Mark seem and go through each one of these inside here with a seam and break these up on the inside so we don't see this one right here. Let's do that. There we go. You and Mark seem okay. Now we've got those. Let's hit the a key you and unwrap. There is conformal, but because it's curved, that doesn't really work very well. So let's try angle based and that is a whole lot better. So g, Alt H, and then let's just move these down here. What's next? Well, I guess the only thing left is the main part of the sofa. So let's hit the O key and Shift H for that. And let's just begin on the bottom like we usually have and just go through and select this whole edge loop all the way around on the bottom, you and Mark scene. Let's maybe come through here. I think maybe this whole thing all the way around like this. Let's try that. You markets seem there. Let's go through here and break out this part and it comes through, it comes out just a little bit too far. I just want it to connect to that existing seem right there. Now let's you and Mark seemed there. We could come up these corners right here. And maybe Alt Shift click. In fact two there like that. Let's see. Yeah, That goes all the way back down to the seam on the bottom. Do we want to seem here? Well, yeah, let's go ahead and do it and see how it looks. And let's mark a seam there. And then also let's market seen underneath here like we've done before. And once again, this one comes a little bit too far. So let's de-select these here. And mark that seem What else? Well, I think that looks pretty good. Let's give this a try. Let's hit the a key and then you and unwrap. And what do we think? Well, about conformal? I kind of like informal, but what is this right here? There's this long strip. Let's see if we can figure out what that is. I'm going to click UV sink. Then let's just hover over this and hit the L key. And I'm going to press Shift Z and hit the period key to zoom into it. And it's just that little strip right down there. Well, that's interesting. What did we do wrong there? It looks to me like when I selected this, this went all the way through. Okay, so we just need to de-select all of this. Let's do that. I selected vantage down there on that end and I'm going to Control click this edge. And that'll connect all that up, select all of that in-between. And let's hit you and clear seam. There we go. Let's try that. All right, once again then let's hit a U and unwrap. And there we go. Let's try angle based. Back to conformal. Not a lot of difference there is there. Let's give it a try. Let's press Alt H, and let's hit the a key to select everything. That looks like everything's selected over here. Let's now come up to UV, average island scale, UV pack islands with the period key to zoom in. And let's take a look at it. What do we think? Well, it's not bad actually. In fact, I think that'll work there. Just a couple of things I'm gonna do here. I want to turn on UVC. Oh no, this is Face Select. So what we need to do is turn off UV sink here. There we go. Then I've got UV select mode enabled here. So I'm just going to click these and I'm gonna move these over here like this. They're altogether over here. And then what we can do is give a little more room to these guys. I'm going to bring this up and maybe turn it so it's more straight up and down. And this I will hit the R key in turn and have this a little more straight up and down. There we go. That's all I wanted to do is just get those in line. So now we can come over here and hit the Z key and go to material preview. Looks like we need to add a material. Let's do that. Let's come over to the material panel, pull this down, select the UV test material. Let's take a look at it. This a little bit bigger. And everything looks pretty much the same size. That's good. We've got these seams along the back here and I'm not sure about those. We'll see how the texture flows along there. But everything else looks pretty good. Let's take it back into the layout and bringing the furniture back, and there we go. So in the next video, I think we can basically use what we just did, what we just learned for the sofa and apply that to the chair. 63. 063 UV Mapping the Chesterfield Chair: Alright, for the chair, Let's well selected, I guess, and hit the M key and bring it out, just like we've done before. And let's take that couch into the furniture collection. And here we are. Let's come back to the UV Editing tab. Hit the a key, the period key, and let's go back to Solid View with the Z key. And let's see what we can do with this using what we've learned from the sofa. So I think first off, let's hit the End key and apply the scale. And let's do that. We know we're going to need to do that. Let's take the feet here. And well, I was going to say we should split them off as their own object. But first let's deal with the mirror modifier. Let's do that. Come over here and make sure that we've got clipping turned on and just apply that mirror. Now we can tab into edit mode. And with these selected, let's go ahead and hit the P key and separate these out so that we can just select that chair again. Take it down to viewport level one, and let's apply the subdivisions here. Now we've got that. Let's take these and join them back in with the chair with Control J. There we go. Alright, so let's now begin again. We know that we can take these things here, right? And UV map those. We did that. And we know that we can take these press Shift H. And let's go ahead and add seems along the inside edges for these, just like we've done before. There we go. Let's get that one and now we've got those all marked. Let's hit the a key you and unwrap. Once again, we don't need conformal, we need animal-based for these. Let's move these out of the way. Press Alt H and O. We've got some overlapping UVs here, so we don't want that. I'm going to use my UV selection tool and just click these three and move them out of the way. And let's grab these and move these out of the way. There we go. All right, let's work on that cushion, just like we did before, the L key and Shift H. And for this, once again, I'll just grab the bottom edge loop. Let's do that. And the corners. This. And hit the a key and unwrap this. There's angle base, there's conformal angle based. Don't really see a whole lot of difference. I'll go ahead and go with angle based on that one. Hit the a key, the G key, Alt H. And then let's move this down here. For the chair. Let's press the L key, shift h. Alright, so let's now go through and mark all of these. So once again, I'll grab all of these edges all the way around the bottom. And then up here, I selected this, didn't I? Yeah. All the way around. And when I did that, it went all the way around down here. So let's de-select all of these down here. An easy way to do that is with the circle select tools so we can hit the C key and then middle mouse button click and drag to de-select those edges there, and then right-click you. Denmark seem okay. I think I selected these in here, didn't I? Alt Shift click here. And then you had de-select these here. Mark scene, and then these corners. Let's select these mark seam here. All the way around. There we go. So now I think we've avoided this little strip here. Let's try this a U and unwrap. And I don't recall if we did conformal or angle based for the last one, but they both look pretty good. So I'm not too worried about that. Let's go ahead and put the material on them. Let's come over here to the material panel and drop this down and apply our UV test material. I'll hit Z and go-to material preview. And let's take a look. Well, we haven't yet added to the scale now, have we? So let's do that. Let's go back into edit mode. And let's come over here and select everything. Oh, we need to bring everything back here. Alt H. There we go. With everything selected in a 3D view. We can now see everything over here in the UV editor. Let's hit the a key. Then let's come up here to UV, average island scale. And now you can see over here, all those squares are the same size. All the squares the same size over here means that everything is proportionally the proper size. So let's tab back into edit mode. And over here, let's make sure and select everything. And now let's pack islands. Alright, let's take a look at it. What do we think? Well, once again, these little items here are not quite in the places I'd want them to be. So let's take these guys and let's spin them around and put one here. And I'll put one here kind of a little more straight up and down. And we can always take these and get these out here like this. Arrange those so we can see those pretty well. Alright? So I think that's pretty good. Once again, we aren't going to really know for sure until we get our material on it, but let's give that a try. So if we then go back to the Layout tab and bring back all the furniture, we've got just about everything done. This one here, we can just delete it and then go to the top view with the seven key on the numpad. Let's duplicate this and move it in the x and then just press R 180 and spin it around. There we go. Now we've got all the furniture that we have so far, UV mapped. And what I think I'd like to do in the next section is go through and begin applying some materials to these. So what that'll mean is we're going to need to take each individual one of these into Substance Painter. But before we do, there's one more thing we're going to need to do that is to establish a color ID map. And we're going to take each of these objects. Let's just select one of these. We're going to take each of these objects into Substance Painter with just one material. The problem is, is we're going to have multiple pieces that require different kinds of materials. So for this chair, we're going to need a wood texture or material for all of these pieces here, right? But we're going to need a different kind of material, a leather material for these pieces. And if we're going to just take these objects in with one material, how are we going to tell Substance Painter that this part should be wood and that part should be leather. What we're gonna do it with vertex colors. And we're going to set up these colors as we take them into Substance Painter because sometimes they need to be adjusted or corrected depending on how they look in Substance Painter. So I generally like to do that as part of the export process to get it into Substance Painter. And we'll talk a little bit more about why we want just one material on our objects when we take them into Substance Painter. But in the next video, we will first export an object without any vertex colors, will take it into Substance Painter. And we'll take a look at a few common issues that you can have when you're moving from blender to Substance Painter. 64. 064 Possible Issues When Exporting: Well, even though we've gotten more UV mapping to do with the room, the walls, the floors, etc. I think it would be beneficial to begin the texturing, at least some of the texturing here with the furniture that we have. Because it's going to help us keep in mind certain issues that we may come across as we continue on with our UV mapping and even more 3D modeling. So just like we began with the coffee table for the modeling and the UV mapping. Let's now work on the coffee table in terms of texturing. And for this project we're gonna be using Substance Painter. I'm just going to switch over to adhere. So we're going to bring each object in, use, substance painters precreated materials to add textures to our objects. So what I wanna do in this first couple of videos is just go over the process of exporting and importing, as well as many of the issues that we may come across as we work on other objects. So first of all, let's add a material to this and get it ready for export. To do that, let's first of all take these chairs in the outliner and drag them into the furniture collection. And then I'll just take the coffee table out to the scene collection as we've done before, and just hide the furniture there. Alright, so we first need to get a new material on this. I'm going to right-click on this border over here and choose join areas to get rid of that one image editor window there. And then let's go over to the materials panel. And recall that we've got this UV test material on here. I'm just going to hit the X right here to remove that. And then let's click New. Let's just create a new material called coffee table. We go. Now we're not gonna do anything to this material. All of the look, the color, the texture, the sheen, the reflectivity, etc, is all going to come from the materials that we create in Substance Painter. So I could go ahead and just turn on the solid view here. And we can now take this and export it out as an FBX file so that we can use that file to bring into Substance Painter. So with this selected, let's come up here to File export FBX. And in this view here, I'm going to make a couple of changes here. I'm going to just choose the mesh under object types. And I want to only bring in the selected object. I don't want to bring in anything else. I don't want to bring in any cameras or lights or other objects, just what we've selected right here. I also want to put it in a particular place. I want to put it in my textures folder. I've created a folder in my project here called Textures. And I'm going to create a new folder here. And I'm going to call this coffee table. And inside here, I will call this FBX that we're exporting. Call it coffee table as well. So it's coffee table FBX. So we've selected mesh, selected objects, put it in the folder that we want, given it a name. And now let's click export FBX, and there it goes. Now let's go over to Substance Painter and see if there are any issues. So here in Substance Painter, we want to bring in that FBX. So let's come up here to File New. And under File, we want to choose, Select. There are templates here that we can use, but frankly, we don't need to. This is an option. We do need to bring in a file, an object to work on. So let's click Select here. And in our textures coffee table folder, we have that coffee table f dx. So let's click Open. Now, I have turned off import cameras and auto unwrapped. There is a feature here in Adobe Substance Painter that it will try and unwrapped your 3D object for you. And it is very similar to blenders smart UV project tool. It tries very hard and each new version improves upon the tool, but It's still can't do quite what we can do and make those important decisions while we're UV mapping. So I'd like to turn these off here. Other than that, we can go ahead and click Okay, here is our object. Now the navigation is a little different here in substance painter. Instead of your main tool for navigation being the middle mouse button, as in Blender. The main tool of navigation here is the Alt key. You press Alt and click to tumble around. Alt and middle mouse button to pan and Alt and right-click to zoom. And of course you can always scroll the mouse wheel. But as we're tumbling around here with the Alt key, we can see there's something a little odd here. Look at this, look. If we look at this particular leg on the coffee table, it's like we can see through one side to the other, right? The outside is invisible, but the inside is visible. And we have that same issue over here. So what is causing that? Well, it appears that our polygons are flipped in Blender. Instead of the polygons facing outward, they seem to be facing inward for these particular legs. So let's go back to Blender and see if we can solve this. Well back here in Blender, everything seems to be okay, but we need to figure out what the problem is with those legs. And I think the way to do that, the way to see which direction or polygons are facing is with the face orientation setting. And that can be found right up here in the Viewport overlays menu right here. And if we turn this on, take a look at this. We've got two legs that are red. I'm gonna hit the period key to zoom in. So what we need to do now is flip these polygons so they're facing outward. If we tab into edit mode, we can come over here. And if we just select, say, this foot here, we can come up to the Mesh menu, normals and flip. And now that's blue. Alright, that works pretty well. Let's select this leg here. And let's come up to the Mesh menu normals. And this time we could also do recalculate outside or Shift N. So let's try that. Let's press Shift N, and there we go. Now we've got those polygons turned out so it's blue. So what we could do is just with everything in edit mode, Let's just hit the a key, select everything, then press shift in to recalculate, so they're all facing outside. And then we go, alright, so let's tap back into object mode. Go back to our viewport, overlays, turn off face orientation. And now we're ready to export this out once again. So in the next video, we're gonna do this one more time and see if there are any other issues that we might need to fix. 65. 065 Possible Issues when Baking: Alright, well we've fixed the flipped polygons or the flipped normals. And you may be wondering what is a normal. Because when we selected all of these, we went up to the Mesh menu and normals. So what is a normal? Well, if here in edit mode, I'm going to hit the three key to make sure we're in face mode. And I'm just going to pull down this viewport overlays. And when we're in edit mode, we get more options and way down here is normals. And we can take a look at the vertex normals, the vertex per face, and the face normals. And if we click this right here, there they are, those are the normals. So let me press Shift Z and you can kinda see them. So these are coming up out of the legs here. But all these are our imaginary lines extending from the front of the polygon perpendicular to the polygon. That's all they are. And to be able to see a texture on a polygon in a real-time engine like Unity, Unreal, Substance Painter, you need to be putting the texture on the front of the polygon with the normals facing out. So that's all they are, is just an imaginary line. Let's come back over here and turn that off. Now, let's export this out again and give it a try and Substance Painter one more time. So with this selected, let's go up to File export FBX. We already have a coffee table to FBX. Let's do coffee table to FBX. Let's do that. And then we can click Export. Once again, I've got the mesh object type selected and selected objects here enabled. We'll click Export. Now let's go over to Substance Painter. Here we go. This is one we don't really want. So if we go up to File New, choose the Select button again, choose our coffee table two. Now, if we click Okay, it'll ask us if we want to save it. We say we want to discard it. And here's the new one. Now if we tumble around, we don't see through any of the legs of the table. Okay, that's good. So let's go to the next step in the process here in Substance Painter. And let's bake our textures. Now. To do that, you come over here to the texture set settings here and come over to this tab right here, mesh maps. So we click that, and here they are. So when we click the big mesh maps button, we're going to create all of these maps. And all of these are going to help Substance Painter understand and know how to apply the materials that we're then going to put on it. So let's go ahead and click Bake mesh maps. And we get this window, the baking window. And let's change our output size to 2048. It's a two k image. Let's adjust our anti-aliasing to give it just a little bit two-by-two here. And then let's just click big coffee table. Here we go. And now it's going through and creating all of these maps. And here we go, Now we're done. So how did it do? How do we know? Well, if we zoom in, take a look at the top of the legs here, you can see we've got some artifacts there. And we've got some down here on these little cubes as well, and maybe even some down here. But I don't know that we're really going to care way down here, but maybe on these cubes you can see just along the edges there. Let me take the size of the brush way down here just so I can kinda point these out right along here, right in here. And I'm really seeing them up here along the top of the leg. So what can we do about this? Well, there's a couple of reasons that this may be happening. May 1 be the size of our baked maps. When we bake these maps, we chose to K. And usually that's enough, but these items are probably so small on the UV map that that may not have been big enough to get a clean bake. Here, let me show you if I come up here and pull this down. We're currently in the 3D view. Let's choose the 3D and 2D here. So here's our UV map with this material applied to it. And if we zoom way in here, you can see that the artifacts are here on the UV map as well. And it looks to me like this. These may just be too small. We can try and increase the size of the baked texture maps by just redoing it. We can come over here to the big mesh maps button. Click that and let's increase this from 2048 to 4096. And let's see what happens. I'll click Bake. And here we go again. It's going to take a little bit longer this time because the maps are twice as big. And there we go. Let's see how it did. Well, I'm still seeing some. I click the Alt key, let me press Shift and lock that to an axis again. So I need to press Alt and middle mouse button to do that. Here we go. This got cleaned up pretty well. I think actually, let's zoom in here. You can still see some right in here, right? The little cubes are pretty good and they're over here. But there's still, I think, more that we can do to clean this up. The other thing that can affect this is our UV map. Notice here in the UV map, how most of the object is aligned to the x-y axis, right? It's either going up and down vertically or left and right horizontally. And when that happens, the pixels are in a row and there are a lot cleaner than if you have a curve like this or if you have a diagonal. So what we could do is we could actually straighten these up in Blender and see if that helps any. So let's try that. I'll come back here. I'll go to the 3D view again. And let's go back to Blender. Here in Blender, Let's go to the UV Editing tab. I'll hit the a key, the period key. And let's now zoom into the legs here. And in fact, what I'll do is press Control Spacebar to expand this view. And let's zoom in here quite a bit. So we can see all of these. And now we can do is go through and try and make all of these straight. To do that, I can just go to Edge mode here. Alt click this, Alt Shift-click, Shift-click all of these. Then press S Y 0, Enter, and just do that all the way across. Boring thing to do, but it can be helpful. And this is why I would say you shouldn't try and get every single UV perfectly aligned to the x, y axes when you're actually UV mapping because you don't really know yet which ones may need to be straight and which ones don't apply? 0, Enter. There we go. Now we could do this if we wanted to as well. Just to see the last one here, I'll just select all of these. Yes, Why 0, Enter. And there we go. So now we've got all of these perfectly straight along the y-axis. Alright, now let's go take a look at it. I will press control and spacebar. Let's tap back into object mode. I'm gonna go ahead and save the scene with Control S. And then let's export this out yet again. File export FBX. Let's call this coffee table three. And I'll export again. Now let's go back to Substance Painter. Here in substance painter, Let's bring it in again. Let's go File New. Select coffee table three, Open and Okay, and we'll discard the previous one. Here we go. Now, let's zoom in here and then we'll try to bake the maps again. So over here in the texture set settings, Let's go to bake mesh maps. Let's go back down to 2048 just to see how it does. We'll take the anti-aliasing to two-by-two again and beg the coffee table. Alright, How do we do? We did better look at the top and these now, that's a lot better. The cubes, I think, could use some work. They still have some artifacts on them, but I want to deal with those in just a bit. What I wanna do now is apply a texture to this here in Substance Painter. So we can take a look at the next collection of issues that you may come across. 66. 066 Aligning the Wood Grain of the Coffee Table: Now let's add a texture to the coffee table and see if there are any issues with the direction of the wood grain. So I'm gonna come back over here to the Layout tab, and I'm just going to delete this default layer here. We don't need that. And over here in our materials panel, Let's go up to the search here and let's search for any wood materials that we have. And here's one right here, this wood, walnut, this is kinda nice and you can use any one you like. And we'll be downloading more from the substance online library. But for now, let's just use this wood walnut. I'm just going to take this, drag it over into the Layers window and drop it. There it is. Now, that doesn't look real good. One thing we can do is turn the direction of the wood grain. So here on the side it's going up and down. Let's turn it 90 degrees and see how it looks. Over here in our properties panel, we can come down to the rotation and instead of 0 type in 90 degrees and hit Enter and that will turn that wood grain so it's going horizontally along here. Now, that turns the wood grain vertical along the legs and I kinda like that. But I think it's a little too big. I think it's a little too much. So let's come over here to the scale. And the more we increase the scale, the smaller the texture gets. If we click and drag on this slider here you can see as it goes up, the texture gets smaller. So let's just maybe plug in five here and see how that looks. Actually, that doesn't look too bad. You can change the light source here by pressing Shift and right-clicking and dragging here just to move that light source around, maybe I'll move it right over here just to get a look at it there. And I like the direction of it here. I like the direction of it along here and on the legs, but I'm not sure about the direction for these little cubes. I feel like they should maybe be going horizontally. It probably doesn't matter too much. But we could turn those and see how it looks. And the only other thing I can see is maybe we want the texture on the top to go in the same direction as the texture on the shelf. So maybe we want to turn the wood grain on the shelf 90 degrees as well. Alright, well, to do all that, we're going to need to go back to Blender and adjust that UV map one more time. So here in Blender, Let's tab into edit mode. And in the UV map, we need to turn some of these things. First of all, I wanted to turn the little cubes that are part of the legs down here. So I'm just going to take all of these right here. And I'll ensure that median point is turned on right here. And I'm just going to turn these with R9 0 and hit Enter. And there we go. Now, if we get really close in here, we can see that these aren't exactly vertical and horizontal. So if we took, let me hit the two key and go to edge select here. And I'll press Alt click, and I'm going to go through and select all of these. But now that I've turned them, I need to go back to individual origin right here. And even if I selected individual origin and selected say, this and this edge, if I hit sx 0, it would still collapse because it's seeing that as all one thing. But if we select this one, this, this, and this, and with individual origins selected, we could press sx 0 and it aligns each one of them individually. So I'll do this. Alt Shift, Alt Shift, click, Alt Shift, click sx, 0. There we go. Now, we should probably aligned these as well. So I'm just going to go through here and type S Y 0 for each of these to get these aligned to the horizontal axis as well. Just going to press Alt, Alt Shift click, and each one of these here, S, Y 0. You see how those straightened out? So let's grab these. I guess I don't need to press Alt since this is just a single edge. S, y is 0. Here we go. This one, this one, this one, and this one. Okay, so now we have these aligned to the x-y axis. But also we need to figure out which UV is this bottom shelf. So to do that, I'm going to click over to the UV sink selection, go to face mode and select that one face there. And here it is right here. So we could just take this and turn it. I'm going to turn off UV selection. First. Select this in face mode. I'll go ahead and select all of this so we can see it. And I'll press R 90 and turn that in the UV map. Okay, so now we've got the little cubes turned and aligned to the x and the y. And I've got the shelf turned as well. So let's go back and see how it looks. I'm going to once again tab into object mode, select our coffee table and let's export it again. File Export FBX. We want to choose the mesh object type and selected objects only. I want to go into that Textures folder and into the coffee table. And this time let's make it coffee table for, I promise as we go on, we're not going to export the same thing again and again. I just wanted to show you the most common issues that you may run into before we go on to all the other objects. So I'll click Export here. And now we go back to Substance Painter. Here in substance painter, Let's try this one more time. I'm gonna go to File New and select. I'll select that coffee table for right here. Let's click okay, discard the current one. Here's the new one. And let's give this another try. So let's go over to our texture set tab, to the mesh maps tab. And here let's click on bake mesh maps. This time I'm going to choose 2048. I'm going to choose a anti-aliasing of two-by-two. And let's click Bake. And there it goes. Now with that done, let's come back over to the Layers tab. I will delete this layer and let's drag in the wood again. Right here. Let's type 90 degrees and the rotation. And let's take our scale. What do we have this at five, I think. Let's try that. Alright, so now let's take a look at all of this. If we look at the little cubes down here, they're actually looking pretty good there looking better than they were. I think. I'm okay with that amount of tiny little artifacts there. We could, of course, clear that up by baking the textures at 4096. If we want to try that, we can do that. We can come back here, click on bake, and let's change this to 4096 and bake that. Once again, it's going to take a little bit longer because these are twice as big. And just because we're baking the texture maps here at four K, That doesn't mean we have to export them out at, for k. We can export them out at two k, one, k 512 to 56, whatever we want. But if we want to view it and see it fairly clean here in our viewport, we can bake the textures at a higher resolution. Alright, so here we go. We've got our table, I think pretty well taken care of now. At least for me, all the wood grain is going in the right direction and the artifacts are pretty well cleaned up. So in the next video, what Let's do is work on exporting these textures out of Substance Painter. And we'll bring them into Blender and apply them to our object. 67. 067 Exporting Texture Maps from Substance Painter: Well, our first order of business here is to export these textures out. Recall that we dragged in the wood texture here into the layers panel. We adjusted the scale and rotation. And now I think we're ready to export this out. And what we're gonna do is just export out texture maps. We need a colormap, a metallic roughness, a normal map. Those are our basic texture maps that we're going to need to take back into Blender. So, well, Let's do is come up here and go to File export textures. And here in this panel we need to first decide where we're going to put these new textures. And I think I want to put them in that coffee table folder that we created earlier. So I'll browse to my project folder, open up textures, open up the coffee table, and select this folder. Now in terms of how we want to output this, we want to create an output template so that each time we come back here and export our textures, we're doing it in the same way every time. And I want to create a template specifically for Blender. So let's come over here to the output templates. And here we've got all kinds presets or templates that we can use. But we don't have one specifically for Blender. And the one that I think is the closest to Blender is this PBR metallic roughness. So I'll select this. And you can see here it's got a base color texture map and roughness, metallic, normal height and emissive. And we're really not going to need a height or emissive texture map for the majority of our objects. So we probably don't need those, but we do need these other four. What does do is let's just copy this, call it Blender and modify the template for our needs. So with this one selected, I'm just going to come up here and click copy. And here it is at the bottom. Let's then right-click Rename, and I'll call this blender export. There we go. So now with this one selected, Let's just remove these two texture maps on the bottom here, Let's click on the X to remove the emissive map, and let's remove the height. We don't need those. And another thing we need to do is change this normal map. It's currently using Direct X for this output. And blender seems to work a little better with OpenGL. So what I'm gonna do is just take OpenGL here, click and drag and drop it right here on that RGB, and then choose RGB channels. And that changes the color. You can see two, purple OpenGL. And I think that's going to work a little bit better once we get these textures into Blender. Alright, having done that, now, let's come back to our Settings tab. And we can now adjust this output template. We can click here and scroll down until we find our blender export here. And then we can also change our output template. But I don't think we need to because this particular output template is exporting all PNG files and that's fine. That's what we want. So we can just leave this as based on the output Template for the size of the texture maps. Recall that we baked our textures at 4096 to kinda clean up some of those artifacts. Well, here's where we can change that to any size we want for the actual exported texture maps. So you never want to increase it because then that will add blur and artifacts to it. You don't want to do that, but you can choose anything under what you bake the map says. So we baked the maps is 4096. So we could choose 4096 or anything under I'm gonna go ahead and choose 2048. I think that'll be fine for our needs. And then I'm just going to click Export. And here we go. Alright, there are our four texture maps successfully exported. Let's now go back to Blender and see about applying those to our blender material. Alright, back here in Blender, we need to apply the color map and the metallic, and the roughness and the normal to our material here. But I think that's going to be easier to do if we come over to the shading tab. So let's do that. Here in this shading tab, I'll select that and just hit the period key on the numpad to zoom in. And here's our table. We're currently in material preview, which is good. I'm gonna bring this up a bit. And here is the material that we were looking at just a moment ago in the UV editing panel right here. So what we need to do is bring those textures in and assign them to each of the appropriate sockets. However, there is a way to do that where we can allow blender to do it for us so we don't have to drag each one in and then connect each one up to the socket. We can use the Node Wrangler. To turn on the Node Wrangler, or you can come up here to the Edit menu, go to Preferences. And here under Add-ons, we can type in node. And here is the Node Wrangler. We just click on it right here to put a checkmark there. And that automatically enables it. It comes with Blender. It just isn't enabled by default. So we just need to come in here and enable it. And then if we come down here to our shader window, press the N key. We can see right down here we have a tab called Node Wrangler. And what we wanna do is create a principled setup. So I'm going to select this principled be SDF shader, and I'm going to click add a principled setup. So when we do that, we get a browser window that we can then browse to that Textures folder and to the coffee table folder. And here are those texture maps that we just exported. So I will go ahead and select all of these and click the principal textured Setup button here and look at that. Now, we've just taken all of those texture maps and hook them up to the principled be SDF shader. And here is our texture on our object and it actually looks pretty good. So let's just take a look at what it actually did here. It took the coffee table base colormap, connected it up with the base color socket on the shader here, using the sRGB color space because it is a color map. It also took this coffee table metallic map, hooked it up to the metallic socket and used a non-color color space because it is a gray scale map. It took the roughness map, fed it into the roughness socket, used a non-color color space, and the normal map as well is non-color. It automatically set up a normal map node and fed that into the normal socket. If we zoom in here really tight, we can see that the texture here is a fairly smooth. We could come in here to the normal map and maybe increase the strength of bit and see how that looks. We could type in, let's say three. And you can see that added a little bit of texture there, a little bit of detail. We could maybe take this up to five and see how that looks. That looks pretty good. Just adds that little bit of bump information in there. Yeah, that looks kinda nice. Alright, so let's go back to the layout tab. Turn on material preview. And here is our texture on our coffee table. We can bring back together furniture. There it is in the room. Alright. So we've now got a texture on an object. We've gone through several of the possible issues that you can come across when going through this process. But we didn't actually create multiple materials with our vertex color tool here in Blender yet. So in the next video, well, Let's do is work on an object that has multiple materials. And we'll see how to use the vertex paint tools here in Blender to prepare that for export. 68. 068 Using Blender's Vertex Paint Tool: For the next object that we're going to texture, Let's choose one that has more than one material on it. Like maybe one of these chairs over here, let me hit the period key and tumble around. And if we take a look at the reference image for this particular object, Let's do that. Let's click here and drag down to create a new window. Let's create an image editor in here. Let's click Open and in the reference images right down here, where is that? There it is, right here. Let's open this up and take a look at this. Now. This looks like it's got three different materials on it. I'll press Control, Spacebar and zoom in a bit. Yeah, so I think we could put some sort of a fabric material here, some sort of a leather material here. And then would down here. But as I said, we're going to be using just one material to take it into Substance Painter. So we just have that one texture set. So therefore we just have that one collection of texture maps. So Control Spacebar. Let's go ahead and set this up with our vertex paint tools so that we can work on those different textures individually in Substance Painter. Alright, so first of all, let's bring this out. I'll hit the M key and choose Scene Collection. I'll take that coffee table and drag it into the furniture collection and I'll hide that. Let's now give this a new material in the material properties panel, I will just hit the X here to remove that click New. And what are we calling this side chair? Let's just do that. I'll hit the Z key go-to solid view. And now let's go over to our vertex paint tools right up here. If we click on object mode here and pull this menu down, we can choose a vertex paint right here. So here's where we can paint colors by vertex. For me, I like to turn on Face Selection here. Then if we press Alt a, we can see the wires on the object here in vertex paint. So I can hover over this and press the L key and select that. Now it's being split out by seems so I can hit the L key here and select that as well. And the interesting thing about it is you can't turn off seems for selection here in vertex paint. Like if I tabbed into edit mode and then hit the L key here, and then turned off seem with Shift-click. And then we tap back into vertex paint. We still can only select within the seams. So that's one thing to keep in mind. So I'm going to hover over this and press the L key. Now, let's add a vertex paint color to this so that this will be a part of substance painters color ID map. So to do that, let's now come over to the active tool settings right here. We currently have the dry brush. There are few others. That's fine. We don't really need to change that. I can spin that up. Now we want to choose a color. I'm just going to take this and drag it over here and choose a green. It really doesn't matter what colors we choose, as long as they're different from each other, for each texture that we want to differentiate with this green, I may want to come back to it later, so we need to save this, I think in our color palette, I'm going to twirl this down, and I'm going to click New down here to create a new color palette. You can give this a name, you can call it anything I'm just going to call it protects colors. And then I'm gonna click the plus. And now that color is here in the color palette. So no matter how many colors we choose here or down here, we can always come back to that green if we want. So it's the exact same color and that's the point. If there's a difference in color, it's going to see it as a different texture. So with this done, I can come up here and I can click and I can drag and I can draw where the faces are selected. I can't paint down here because we've selected paint mask to only be able to paint the faces that we've selected. Now, painting all of this is going to be a pain, even with it turned up to strength at a 100% here. So what we can do instead is we can come up to the paint menu and you can choose set vertex colors or Shift K. So if I press Shift K, now it fills that whole object, all of that selection with the vertex paint. Alright, so that's the back. That's good. Let's press Alt a. And now I can hover over this and press the L key here, and the L key here. And now we need a different vertex color to differentiate the seat from the back. So let's come over here, drag this over, I'll just grab a blue. Let's add it to our color palette here. And then with this selected, I'll press Shift K, and there's our blue. Alright. Now, what about everything else? We can go through here and select each thing that could be a little painful there. What we could do is we could just tab into edit mode. And then I could press the L key here and the L key here with seemed turned off and it selects everything. And then I can invert the selection by coming up here and going to select and invert. Or I could press Control I. And now we've got everything else selected. So if I tap back into vertex paint, they are now selected here as well. So sometimes it's easier just to make your selections in edit mode and then tap back into vertex paint to set the color. Alright, I'm gonna take this and drag it down to a red, let's say, and then hit the plus. And then let's come over here and press Shift K. There we go. I can turn off the paint mask here, and there are our vertex colors. So with this now we are ready to export it out to Substance Painter. I'll go back to object mode. I'll select it, and let's export it out. I'll go up here to File export FBX. Let's put it in the textures folder. Let's create a new folder here. We'll call it side chair. Let's call the FBX the same thing, sides share. Let's put it in that folder. And let's only choose the mesh for our object type. Choose selected objects and export the FBX. And there it goes. Alright, so in the next video we will take it into Substance Painter and see how those vertex colors work when creating a color ID map. 69. 069 Adding Textures Based on the Color ID Map: Alright, here in substance painter, Let's go to File and New. Let's click on select. And let's go into that side chair folder and choose the side chair FBX. Let's click Open. And Okay, here we are. So now what Let's do is let's bake our textures and see how we can incorporate the vertex paint that we added to the object. Let's come over here to the texture sets settings. Go to the mesh maps tab. We'll click on bake mesh maps will choose an output size of 2048 again and to aliasing two-by-two. But this time, we want to make sure that we're gonna be creating an ID map here from those vertex colors. So let's come over to the Id tab right here. And instead of material color, Let's for our color source, choose vertex color. There we go. Now we can choose big side chair or big selected textures, either one, since we only have one texture set here, I'll click Bake, and here it goes. Alright, so now you can see we've created an ID map here, and it's using that red, green, and blue that we created in Blender. We can come up here to this pull down right here, scroll down a bit. And we can choose ID from the mesh maps and see those colors here as well. Alright, so we know they've come over from blender, That's good. Let's go back to the layers tablets, delete that default layer. And let's see if we can find some sort of fabric that would go on the back of the chair there. I'll just type in fabric. And we've got a couple of things we could use. We could use this fabric bamboo. Well, I don't know. It's kinda like that, isn't it? We could try this fabric, knitted sweater. Now, how about this fabric rough? That's a possibility. Let's try this fabric bamboo and see how that looks. You never know it might work. So let's just take this and drag it over into the Layers window and drop it. There we go. Well, that's not exactly what we wanted, is it? We want it to only be on this top part. And we can take the scale and drag it up some, just so it's a little bit closer to what we had in our image there. We could do that. But how do we get it off all of this? Well, the way we're gonna do that is use a paint mask based on what color we select. And to do that, we're going to need to split each of these out into their own folder to have its own group. So let's come over here and create a new group right here. And I'll call this fabric here. And then I'll take this and just drag it straight in there and drop it. So now it's in this group, right here. Now, for this group, we can add a paint mask. We can right-click choose Add Mask with color selection right here. Then if we choose pick color, you see how it's brought in that ID mask here. So if we choose pick color, we can choose what color from that ID mask we want to use for this fabric. So let's choose, pick color and then click on the green. And there it is. There's our new fabric. Alright, let's try that. I'm going to press Shift and right-click and drag the light source around a bit and maybe like that. There we go. Alright, well let's do the same thing for the seat now. Well, let's see what kind of material we have over here. I'll click the X and type in leather. And what do we have here? We've got artificial leather. Now, it's possible, I don't know. How about leather medium leather, rough leather bag? Kinda like that. Let's try that. It's a little bit different, but let's, let's give it a shot. So I'm gonna take this and drag it and drop it right in here. And now it goes over all of this and we don't want that. I'll bring this scale up a bit like this, just so it's a little smaller. Maybe we could turn off the height. Right. Here is our height map. If I click this, that smooths it out, so that's a little bit better. So now let's bring that scale back down so it isn't quite so small. Yeah, Something like that. Let's try that. And then it needs to be a little bit shinier, I think so maybe if we adjust the roughness right down here, so let's drag this up. No, that's increasing the roughness. So let's bring it down. There we go. So that's a little bit too shiny. Let's bring it back. Maybe something about like that. Let's try that. Maybe a little bit shiny or since people have been sitting on it for a 100 years. Let's try that. Yeah, let's do that. Okay. And now let's split it out so that it's its own group. So let's come up here and add a group. Let's take this and drag it into that group. Let's call the group leather. And then let's right-click on it and mask with color selection. Click on Pick Color, and select the blue. And there we go. Alright, I feel like this is a little bit too big. Let's come back up into the fabric group. I'll open it up here. Select that fabric and let's see if we can scroll up here and increase the scale just a little bit like let me try typing it in and I'll type in five. No. How about six? Yeah, that might work. What about the color is the color? Alright, I've opened up a picture of this underneath this window. Let me click here, minimize this, and here's that image that actually isn't bad, that color isn't bad. But if we wanted to, well, what we could do is we could scroll down over here and this color here. We can click that. And then if we click and hold on the eyedropper, come over here and you can see it changing color from white and brown and brown and get into here. Maybe kind of right down in here. Let's try this. Like that. Feel like it should be a little bit darker. So I'll take this value slider and move it down just a bit. I don't know, something like that. Let's try it. I'll close the color picker and then let's work on the legs. I'm going to close this group and this group. And then I'm going to select one of the groups, create a new group. And let's call this. Would. We go Now let's come over here and see what we can find for the wood. And while we don't have a whole lot here, do we got, I guess for now, let's just go ahead and use this wood walnut again. I'll click and drag and drop that onto the wood group. There it is. And we've got the same problem. So let's select the group and right-click Add Mask with color selection. Pick color, and choose the red. There we go. Now, we've got some work to do here with this. Let's choose the wood walnut material right here. And then let's scroll up here. And let's take the scale up. Maybe let's type in three. And we also need to turn it. So let's type in 90 degrees in the rotation. Yeah, that's pretty good. And let's take the scale up to five. Let's try that. Yeah, let's do that. Okay. And the color now let's take a look at that. If we come over here and we'll click on this color, I will click here too, so we can see that in the background. I'll click the eyedropper and let's hover over this and see if we can find a nice dark color for the wood. Something like this. Let's do that. And then let's here in the color picker. Let's take this down a bit, a little bit darker, and I'm also drag it down into the red, a little bit like this, so it's a little bit more red like that. There we go. Let's see how that works. That's not bad. I think. What about the color of the seat and let me see what we can do with that. Should I try and adjust that with the color picker? Let's do that. Let's open up the leather group and then we can just click on the color picker here. Drag and let's find a nice color for this as well. It's pretty similar to what I had, isn't it? Yeah. About like that, but let's just click on the color and drag it down a bit in the value. I like that. Alright, there we go. Now we've got our chair all textured. So in the next video we'll export all this out and see how it looks in Blender. 70. 070 Setting Vertex Colors for the Dining Chair: Okay, now let's export these textures out. And actually before we do, I should mention one more thing. I have been going to File and Save, or Save As. And I've been saving these in the folders, in the texture folders where we're keeping the FBX and the texture maps. So I've been saving the substance painter project files in there as well. I'd just like to keep everything all in one place so I know where all the files are for each individual object. Alright, let's go ahead and export this. I'll come up here to File and Export textures. Let's browse to place our texture maps in that side chair folder. I'll select that folder. We've got blender export chosen here already. If you don't have it, go ahead and scroll down and choose that. The output file type is based on our template. And our template recall specifies a PNG files, so that'll be fine to leave it, as is our texture map size. We baked those textures for our texture set at 2048. So it's going to go ahead and export those out at that setting as well. So this should be fine. So with all of that setup, Let's just click Export. And there it goes. Alright, now let's go back into Blender and apply those to our object. Here in Blender, Let's go over to the shading tab, and I'll hit the period key. We better select it and hit the period key. There we go. And for me personally, I'm not a big fan of having the blurred out HDR image in the background here I think it's distracting, but the good thing is, is Blender has a lot of ways that we can adjust that. So you can come over here to this shading pull-down menu and you can see if we take the blur all the way down, you can see that there is the HDR image. It's just a little wooded path seen here. But for me, I like to take the world opacity all the way down. So you can't see that at all. Now, all the lighting and the reflections from that HDR image is still being used here in the scene. It's just, we're not seeing it in the background, which as I said, I think is kind of distracting. Let's now come down here and choose the principal BSD F. And in our Node Wrangler tab that we enabled when we enabled the Node Wrangler tool in preferences. We can now come over here to add principled setup, browse to our side chair folder in the textures and here are our texture maps. So let's just select those. Click here and bring them in and there they are. So that actually looks pretty good. I think let's come back to the layout tab. I'll hit Z and material preview. It's tumble around. And yeah, I think that'll work just fine. So let's bring all the other furniture back here, enabled the collection. And then we could just take this chair, hit Delete, and then just grab this one and duplicate it and hit X and move it over in the x-axis. So now we have two chairs there. Let's take a look at texturing another object. We've got two of them done. How about another chair? How about this one over here? Let's just press the period key to zoom in. And for this one, I think all we have is a leather material and wood. Let's click Image open and let's go find this. Here it is right here. Let's open that up. I'll press Control and Spacebar. And yeah, it looks like we've just got two materials that we need to worry about, the leather and the wood. So let's go ahead and create vertex paint colors for that. I'll pull it up out of the furniture collection right here with the M key. I'll take these two chairs and drag those back into the furniture collection and then hide everything. Let's come down here to the material properties. I'll select this one. So we have our UV test material here. I will click the X to remove that, and let's click New. And what do we call this dining chair? Let's do that. And then I'm going to hit Z and go back to Solid mode so that we can then come up here to object and vertex paint. Now we can begin adding our vertex pink colors. I'll go ahead and turn on the paint mask face selection so that we can just hover over, say, the back of the chair here and here and press the L key. It looks like we need to do it right down here as well. So I'll press the L key here. There we go. So now let's come over here to the active tool. And we still got the colors in our color palette. That's good. We can choose any of them or create any new ones, but I'll just select the green. And let's just press Shift K. Now, recall that's the shortcut for set vertex colors. Then let's press Control I to invert the selection. Let's maybe choose blue here and press Shift K to add the vertex color to that. Alright, I'll turn off face selection here. And there are our vertex colors. I think that looks good. So now let's export this out. I'll go back to object mode. And then let's go to File and Export export FBX. Here in our export window, let's find a folder that we want to put that in. Let's go into the textures folder, and here I'll create a new folder. Let's call this dining chair. And then in that folder, or FBX should also be called dining chair. And will ensure that we're only going to export the mesh and the selected object that we've chosen there. Alright, I'll click Export, and there it goes. Now before we move on, I should also mention that I have been saving these with the external data enabled this automatically pack resources enabled here. And what that's doing is that packing all the images associated with this particular blender file all into that dot blend scene file. And that just ensures that when you download the project files and open up a particular blend file, all of the images are there and available to that file so you don't have to try and hunt and search and reconnect the blender file to the appropriate image files. It just makes things easier for people opening up the blender scene files from the project files. However, you can also do this too, because as I said, since it packs all of the images into the blend file, then if you take that file to another computer or if another person say on a team opens it up, all the images and textures are there without having to re-link to various image files from the blend file. So I just wanted you to know that I'm doing that when I save these files, if I click File Save, It's packing those images in there. And I just wanted to suggest that it's something you might want to do as well. Alright, in the next video, we'll go into Substance Painter, and we'll see how our textures look on the dining chair. 71. 071 Texuring the Dining Chair: Here in substance painter, Let's bring in that new file. Let's come up here to File and New. Click on Select. And in that dining chair folder here is the FBX. Let's go ahead and select it and click Open. And Okay, and I'm gonna save this file here that's currently open, so I'll click Save. And here is that chair. Alright. Now that I look at this, I see a problem that we've had before. We've got the legs here on this side. We have them flipped or we have an inside out. Now, don't we? So I think we're going to need to go back to Blender and fix this. And I'll also show you a way to fix it for the entire scene. So let's go back to Blender real quick and take care of that. Here in Blender. Let's just come up here and click on the overlays menu and choose face orientation. And when we do that, we can see very clearly that we've got a problem with flipped polygons here, flipped normals. And it appears that every time we've duplicated and mirrored a part of the object over, not only does it mirror it from one position to the other, but it also mirrors the direction of the polygons, right? So it flips those polygons inside out. Alright, let's bring back everything else here, all the furniture and take a look at these. And sure enough, look at this. Everything we have mirrored over is red. We'll look at this down here. And here's one here. So what we need to do is come through and see if we can fix all of this at once. And there is a way to do that. What we can do is we can select everything in object mode here. We can hit the a key, and then we can hit the Tab key, and everything goes into edit mode all at once. Now we can hit the a key to choose every single face in the scene here. And then recall if we go to Mesh and normals recalculate outside is shift in with everything selected here, Let's just press Shift N, and that should take care of it for all of the objects. So let's take a look. Yeah, it looks like everything is now blue. There we go. Now we shouldn't have to worry about this anymore. Well, at least until we create new objects. But for all of these, I think we've taken care of it. So I'll hide the rest of the furniture. I'll turn off face orientation. Let's now take this and I'm going to save this file now with Control S. And since we've changed the object, we've flipped the direction of some of the polygons. We're going to need to re-export this as an FBX and use the new file in Substance Painter. So let's come over here to File export FBX. Here's the old dining chair FBX file. So let's just select that and right over it, we've got our proper selections over here. And let's click Export. All right, Now back to Substance Painter. Here in substance painter, Let's just bring in that new file. I'll click File New select. Here's the new dining chair. Click Open. And Okay, in this particular scene we do not want to keep, so I'll click discard. And here's the new chair with the legs in the proper direction. There we go. Alright. Our first order of business here is to bake the texture maps. So let's come over here. Click on bake. I'll change this to 2048, anti aliasing two-by-two. And also we need to come over here to the ID section. Click there and change from material to vertex color. And click Bake. Alright, let's click. Okay. We've created our ID map here. That's good with the blue and green. Let's go back to the layers panel here. Delete that default layer, and let's find that leather material that we were using before. Let's search over here. And I think it's this one right here. Let's just click and drag that over into the layers. And first of all, we need to get it just on the seat and the back of the chair. So let's create a new group. I'll change the name to leather. Let's click and drag that into the group. And then we can right-click on the group, Add Mask with color selection. Color, and choose the green. Alright, so let's rotate light around a bit, maybe something like that. And now we've got some work to do here to get the leather to look the way we want. Let's take a look at the reference image and see what we're trying to get. So we need it to be quite a bit smoother and more shiny here. Alright, so let's choose the leather material here. And first of all, let's take the scale up about three. Let's type in three. Is that pretty good? But we've got too much bump information there. Let's scroll down. And in the previous one, we just turned off the height. We could twirl down the technical parameters and drag the height position down like this and see if that helps it off. But if we go way down to 0.01, you can see there's just a little bit of a change there. So let's, let's, let's try that, see if that works. It may not, but that's okay. Let's give it a try while we're here. Let's take the roughness down as well, so it's a little shinier. Let's do that, something like that. And then maybe I'll scroll back up and take the scale up to five. Yeah, I'm not real wild about that height on there at all. So I think I'm just gonna go ahead and turn it off for this as well. I want it to be pretty smooth. You can see here it's pretty smooth. And then we want it to be more of a red material. So actually I'm going to click here and then I'll move this over. And then I want to undo the parameters, change the color. I'm just going to use the color picker. I'm just going to click and hold and drag over here and see if I can find a fairly good representation of that. Yeah, that looks pretty good there. Kinda like that. I'm going to click on the color swatch and maybe drag the value down just a bit, so it's a little bit darker, like that. Alright, That's not too bad. Let's now take a crack at the wood here. I will close this group, I'll select it. Create a new group. Let's call this wood. And let's find that wood texture that we had earlier, this wood walnut, I'll click and I'll drop that in. Let's now right-click on this, Add Mask with color selection, color and choose that blue. Now for this, let's choose the wood material. And in our properties here, Let's scroll up. Maybe I'll take the scale up to five. Let's try that. And the rotation, I'll type in 90 degrees. And let's take a look at our image now. So I think it needs to be a little bit shinier and maybe the grain could be even smaller. So let's type in seven for the scale maybe. And then let's also scroll down and bring the roughness down to make that a little bit shinier here. Let's try this. I'll press Shift and right-click to move the light around. And let's take a look at this. It's not bad. I feel like there could be a little bit darker. Let's grab this and bring the value down just a bit like that. And yeah, I think that's looking actually pretty good. Let's see. We take a look at our reference image. That's not bad. I think that'll work. Alright, so in the next video, we'll export this out and apply it to our object. 72. 072 Using Materials Instead of Vertex Colors: Alright, let's export this out. Let's just go up here to File and Export textures. And then of course we've got to put it in a place that makes some sense for us, right? So let's go over to our Textures folder in the dining chair folder. And let's select that. Our output template should be that blender export. And everything else we can leave as is because it's either based on the output template or the texture set size that we set up earlier. So now with all of this in place, let's just click export. And here we go. Now let's go over to Blender. Here in Blender, Let's go to the shading tab. And here let's select our principled BSD F shader. And actually instead of clicking Add principled setup, let's use the shortcut Shift Control T. So I'll press Shift Control T. Let's go to that Textures folder, the dining chair, and here are our texture maps. Let's click here, and there we go. So there is our chair. Let's go back to the layout tab, material preview, and here we go. So that is our dining chair. Let's bring everything else back. Let's delete this one here. And now we can just take this shift D y and move that over here. There we go. Now we've got our two chairs there. Alright, well, what should we work on next? Maybe this wall table here. Let's take a look at this. If I hit the period key and recall that it's got these handles here, right? Let's go to the UV editor. And I'll hit the a key and the period key. And let's take a look at where the handles are in here. They are here, here. Here. I'm just hovering over each of these and pressing the L key and there they are on the texture map. And not only are they not quite aligned to the x, y axis, now the seam is in the back, so it may not really matter, but one thing I'm concerned about is just how small this is in our UV map. And I think we're gonna get a little bit of pixelization on these because they're so small and we're really only going to use a 2048 texture map here. We can, of course, bake it at a higher resolution, but let's take a look at a way to kind of alleviate the problem of pixelization. When we've got really small things on our UV map, what we can do is use Blender materials to split up the UV map between the table and the handles. And therefore the handles get their own UV map where they can fill the texture space more efficiently. So let's just say let's first of all tab back into object mode and let's undo or remove that UV test material from the object will create a new material. And let's call this wall table. I'll call it Wall table main for the whole thing. And then if we zoom in here and just select these handles, Let's also create a new material slot here. Click New. And let's call these wall table handles right there. Then with these faces selected, let's click Assign. Here we go. So if we hit the a key here, we can see them all on the UV map here, right? But if we come over here and select the wall table main and choose, Select, we see everything but the handles. Now if we de-select that and just select the handles material and choose Select, we see only the handles. So what we can do now with the Handle selected, Let's just press U and unwrap and look at that. Now we can change from angle based conformal and see if that helps any. Now I kinda like angle based. But what we can do is come through here and select these and maybe move them around a bit. Let's take this and move this down here. So we've got these. Then let's take these and let's just move this out at the archae. Same thing here. So I'm just trying to move these out into this area here. I think I will just shrink these down just a little bit so they don't go over the edges there. Alright, so now we've got the UVs for our handles, taking up a lot more space within the 0 to one space, right? So these are gonna be able to use more of that texture space, and that's a good thing. So now what let's do this. Let's go back over to the layout tab. And I'll go ahead and bring this out from the furniture collection. I'll press the key and choose scene collection. Then I'll take these two and drag them in Heidi furniture. And here we go. So now we've got just the table. Let's go to Solid View will now this would be the part in the process where we would add our vertex colors before we export it to Substance Painter. However, I want to show you how materials work in substance painter as well. So let's go ahead and select this and let's export this out as an FBX. Export FBX will choose the mesh object type and selected object. Let's go into our Textures folder and let's create a new folder here. We'll call it Wall table. And in that folder we'll put our FBX. We'll also call that wall table. And then let's click Export. Now let's go into Substance Painter. And I just want to show you the difference between vertex colors and using materials. Here in substance painter. Let's go to File and New. We'll choose, Select. We'll browse to our wall table folder. And here it is. Let's go ahead and click Open. And Okay, so the main difference that we see here is that there are two texture sets. And as I said earlier, blender materials are seen by substance painter as a texture set. So it's going to split these out into individual texture sets. So let's come over here and choose wall table main. And under the texture sets settings, we'll click on the mesh maps tab, and let's click on bake mesh maps. And then we can come over here to our output size 2048. We can go down to our anti-aliasing. And if we were using vertex colors, we could come over here to id and change this to protects color. However, we don't have any colors at all, we just have materials. And because of that, our baking process can be split up into two different sections. Now, we could set this at 2048 and choose baked selected textures. And it would bake all the texture maps in wall table main and all the texture maps in wall table handles 14 of them. Seven maps for each, all at 2048. However, if we just clicked here and only bake wall table main, we can bake this at 2048 and then the handles at a different resolution. So let me just show you how that works. I'm going to click Bake wall table main here. Alright, and click Okay. Now you can see all of these texture maps here are based on the UV map of the table. However, if we come over here to the handles, we don't have any maps yet. Which means now we can click Bake, change this to say five-twelfths. Let's say if we need this or want this to be a smaller texture size, we can keep our anti-aliasing the same there. And now we come down here and click Bake wall table handles. And there we go. Now you can see these are based on the UV map of just the handles. So you can use your different materials to create different textures sets. And for each texture set, you can set up a different texture map resolution for the exports. Alright, so in the next video we will take a look at what that means for our texturing in the Layers window for each of the texture sets. 73. 073 Using Paint Layers in Substance Painter: Now let's do some texturing on this. Let's remove this paint layer for now. I'm just going to click that. And also I'm gonna come over here to the wall table main and remove this one as well. I just like to clean that up. We're going to actually probably need to add a new paint layer. But for now, let's just remove those and have that ready to go for a wood texture. So let's come up here to search and type in wood and see what we have here. Now, I've got this would American cherry, which is kinda nice. Let's work with this one. I'll click and drag and drop that over here. And we've got a couple of things that I think could be worked on here. One, we've got this bump or height information again, so I'm just going to come down here and turn off the height channel, just so that smooths that out. Then let's work on changing the direction of the wood grains. So let's come over here to the rotation type in 90 degrees and we'll turn that. Yeah, I think that's pretty good. Now, also, I think it's too big. So let's come over here to the scale and I'm just going to type in three. See how that looks. I'm going to press Shift and right-click and kinda move the light around, something like that. Let's try that. I think that's closer, but let's try five. Let's just see what happens if we try five now. How about for yeah, for me actually, that's pretty good. Let's try for I also think I'd like it to be a little bit shinier here. So let's scroll down until we get to the wood roughness and let's bring that down. And the more we bring down the roughness, the more it brings the reflectivity or the shine to it. Let's do that. I'm going to also come over here and click on random seed and see if I can change the pattern a little bit here. It just feels like this leg is a little bit too dark compared to these others. So I'm just going to click on the random seed and it will begin to rearrange some of the wood grain here until we find something that we kind of like, that's not bad, That's a little bit better, although that's still fairly dark over there. I think it's just because it's in a different location on the UV map. Here we go. Now that gets all the others to be about the same value there. Yeah, I think that's a little bit better. I like that. Then I think I'm gonna make it a little bit darker. I'll click on the color swatch here and I'll bring the value down just a little bit like that. Just feel like in the room that we're going to have this, it needs to be a little bit darker. I could increase the saturation a bit if I wanted. Let's try that. Yeah. Okay. I'm gonna go with that. You of course can go with whatever combination of these settings you like. So now let's switch over to the handles here, right here. And let's work on these. So for these, I think I want a brass material, so I'm gonna click the X and I'll type in brass. It looks like I've only got one so that it looks like all we've got. Ultimately, we'll be adding more by browsing to the 3D assets in the marketplace. But for now I'm just going to take this click and drag, drop this over here. There we go. Now, one mistake I made and I want to show you this, is, I forgot to include these little spheres in the handle material. So when we were creating materials in Blender, I selected these parts, but I forgot to select these little spheres to apply those to the handle material. If I wanted these to be brass now, I would have to go back into Blender, assign these to the handle material, and then bring that FBX back here into Substance Painter and re-apply the materials. But there is another way, and that's what I meant by we're going to use one of those paint layers here. And so far we've been applying the textures in this way by just dragging them over or putting them into groups here in the Layers window, in the layers panel. But we can also paint directly on our 3D objects. So what let's do it? Let's go back to the table main, and let's create a new paint layer. Right here we have paint layers, fill layers, and groups here, and I want a paint layer, I'm just going to click here. Now currently these are the settings for our paintbrush. And if we just came over here and clicked and dragged, that's what we'd get. So I'm going to press Control Z. We don't really want that. So a couple of things I'm going to take the size down quite a bit. It's pretty small. Maybe down to like one or something. Yeah, something like that. So I've got it at 0.5. And keep in mind, these spheres have the wall table main material on them because I didn't change them or assign them to the handles. So we can click on this and you can see that we can paint on these. So what we really need to do is change our paint properties here to be similar to the brass that we have on the handle. So how to do that? Well, we can come over here and just click on the color picker next to the base color and click and hold and come over here and find a nice brass kind of color here, something like this. Now I think we will also need to increase the metallic here. I'm just going to take this and drag it all the way up. And now you can see it's becoming a little bit more similar to what we have here. I can bring the roughness down and make it a little shinier. I can bring it back up like this. So I'm just kinda maybe something about like this that looks similar to this. So now if we click and paint here, you can see we can make a similar kind of material to what we have on the rest of the handle. So I'm just going to continue painting here. Go round here like this. And I can't paint on the handle because it isn't a part of this material, right? I can only paint what is currently in the table main. So I can paint out here. I don't really want to do that, but I could then I can come in here and paint this like this. So let me just click and drag here, tumbled around, see what we can find here. I think that's when I press control Z. And there we go. That looks pretty good. Let's come over here. Click this, paint, this sum. There we go. Alright. There we go. So now we've got all our materials on our wall table. 74. 074 Finishing the Wall Table: Well, now that the wall table is textured, let's work on exporting our texture maps. Now there's a couple of things I want to point out here. First of all, if we go into the texture sets Settings here and go under general properties, we see that the size is 2048. That makes sense, right? We set 2048 when we begged our mesh maps, right? But if we go over to handles, look at this, it also says 2048. I thought we set that to 512 when we baked the maps. Well, those are two different things and I just wanted to point this out. First of all, let me just go over to mesh maps here and click on bake for just a moment. And you can see here our output size was 512, right? But as we said, if we go back to the properties, is 2048. So the general properties here sets the size of the output. So when we're in the export textures window, and it says that the size is being based on our texture set. This is what that means. So if we want it to output five-twelfths, just like we said when we baked, We need to come over here and change it to 512. Okay, so we've got the handles at five-twelfths, the main at 2048. Let's now go over to our files export textures window. And let's begin setting this up so we want to change our output to the wall table folder. We have that here. Under textures. That's good. We've got our blender export template here. We set up our file type in that blender export template. So our output template is what's dictating that. But here under size, where it says based on the texture set size, that this property, in general properties. Now we can change that of course. But since we've got two materials with two different sizes, we want to keep it like this because if we change it, it'll override those. And also I'd like to point out, look down here, it says eight textures, and that's because we've got four for each of the texture sets. Alright, so let's click Export here and see what happens. Here we go. We've got our wall table handles at 512, right? That we set up in the general properties. And we've got our wall table main at 2048. And you can see all of the texture maps that were successfully exported here as well. Alright, so now let's go back to Blender and set these up. Alright, we're back in Blender here in the shading tab to bring those new texture maps. And let's go ahead and click on our principal, BSD F. But which one is this? This is the wall table handles. Let's come over here to our material properties panel here. And let's begin with wall table main. I'll select that here. Let's select our principled VSD F shader. Recall that the ad principles setup is control shift T. So I'll press that. And then in our Textures folder under wall table, and here we can see I've switched to vertical list view as opposed to the Tile view because it's hard to see what the name is here in Tile view. So here in the list view, we can see that if we've chosen main here, we need to select the main texture maps here. So let's click texture setup. And there we go. Now we've got the wood on there. That's good. Let's now select the handles. Select the principled be SDF, press Control Shift T. And this time we'll choose the handles texture maps. Right? So there we go. Let's go back to the layout tab. I'll hit Z and go-to material preview. Here we go. It looks pretty good actually. But the interesting thing is if we go to our UV Editing tab, and I'll also go to material preview here. We can see that if we choose handles for the material and click Select. Here are those handles, but without the little spheres, right? If we then click on the main and choose, Select, Here's our UV map, but here are those spheres. And those are right. I think they're right in here. I think that's them right there. So that's why we had to do the little painting trick in Substance Painter. But it also shows that you don't have to just go with blocks of vertex colors or materials in blender that translate to texture sets in Substance Painter and just drag and drop things on there. You can also, as you saw, paint directly on the 3D model. Alright, well let's go back to the layout tab. Let's bring back the rest of the furniture. Here we go. Yeah, that's looking pretty good. So in the next video, what I'd like to do is begin working on this office chair. This is going to give us a few more opportunities to work with materials and vertex colors, et cetera. So let's go ahead and bring this out of the furniture collection and put the wall table back in and hide everything. And let's give it a new material here in the Materials panel. I'll get rid of that UV test material and let's call this desk chair. I'll go to solid view. And in the next video we'll let's begin doing is go through, set up our vertex colors and export this out so we can take it into Substance Painter. 75. 075 Texturing the Desk Chair: Alright, we've got a material on our desk chair. Let's go ahead and go over here to vertex paint. Right here, will turn on the paint mask. And then let's come over here to the act of tool. And we've got a couple of colors here. So let's begin with the green. I think what I'll do is tab into edit mode to do the selecting. So I'm just going to hit the Tab key and then hover over this and press the L key. Ensure that seam is turned off. And then let's just go through and grab all of this. And then we'll tab back into vertex paint. And with green selected, we'll press Shift K. Alright, tab back into edit mode. And let's just select this right here. Tab back into vertex paint, select the blue, shift K. Back into edit mode. We will select the legs Here, tab back into vertex paint, select the red and Shift K. And then let's go down here and these guys right down here, let's take a look at this reference image just to make sure I'm correct about this. I was just kinda doing this from memory flying by the seat of my pants here. So let's bring this in and let's take a look at it. Control Spacebar. And yeah, it looks like we've got the leather of the chair, the black of that stem now, this has got black here in between the legs, but I think I'm just going to make the whole thing would all the way through. And then we've got these little metal pieces we could call these bras maybe. And then more plastic down here. So we've got a light black plastic up here and a dark black plastic here. Alright, so that's 12345. Alright. Now, let's continue with this. So what do I have? If I tab back to vertex paint, I've got 123 and then four or five down here. Okay? I think I was on the right track here. So let's now hit the L key and select these here. Right along here, all the way around. Then we'll tab back into vertex paint. We're going to need another color here. So let's just maybe swirl over two and oranges color right here. Click the Plus in the color palette. And now we have orange. Let's press Shift K out here in the 3D view. And there we go. Now if we tap back into edit mode, these little tiny spheres here on the bottom tab back into vertex paint, we're going to need yet another colorless just maybe go over to a purple here. And then we'll press Shift K. And I'm just keeping all of these colors here in case I need to change anything, in case I need to redo anything. So I have the exact colors because as I said, if there even a slightly off, it's going to see it as a different material. Alright, let's come back up here. Turn off the paint mask. We've got 12345 colors. That's good. Now let's go back to object mode. Let's select the object, and let's go to File export FBX. Let's ensure that we've chosen the mesh object type and selected objects. Let's put it in our Textures folder, and it looks like we're going to need a new folder here. We'll call this desk chair, and we go in here. The FBX should also be called desk chair. There we go. Alright, Export. Now we go to Substance Painter. Here in substance painter, Let's once again go to File New. And let's select that FBX right? Here. We go, open that up. Let's click Okay, here it is. Alright. So from here, we of course need to bake our textures here in the mesh maps tab. We'll click Bake. I'm gonna go ahead and change to 2048 for this. And I want to mention about the output size here. This, even though it says Output size is really dealing with how the materials go onto the map. Here in Substance Painter, It's actually more of the input. Whereas over here, let me press Cancel. Under our general properties, this is really the output. You can kind of think of this area here as what the materials are interacting with. So I'm gonna go to 2048, two-by-two. And recall that we've got our ID map here. So we'll change this to vertex color. Alright, let's go ahead and bake our textures. Here they all are. That's good. So from here, let's go ahead and delete this. And let's first of all see what kind of leather we have over here. Let's type in leather. We don't have a whole lot here. We've got this leather bag. And I don't think there's much here that I want to use. So what I'm gonna do is click on this, browse 3D assets in the marketplace. And I'm going to click here. This brings up the Creative Cloud Desktop, a window and I'm going to click on Materials here. And then in the search field here, I'll type in leather. Let's see what they have. And they have quite a bit. So it's going to take awhile to scroll through here. Actually, this doesn't look too bad. If I click on this, we can see it a little bit closer here, a little bit bigger. And that's actually not bad. That's kind of what I'm looking for right there. I think it's going to need to be a little darker. We can click here and drag down just to see what it would look like. A little bit darker like this. I kinda like that, something like that. So alright, let's go ahead and get this. And instead of clicking here to download, because that'll just take it directly into a folder on my hard drive. But I'm gonna do is come over here and click here. And this is sin two, and this will allow you to send it to the open application. So I'm just going to click here. And it'll think a bit. There it is right here. So an interesting thing that it does is it changes the way it searches here. So if you remember this little base material, square wasn't here, and if we hit the exon, this, it will just give us every single asset or resource we have in Substance Painter. And that's a little too much, which you can do is click here to filter say by material. Or if you take this and pull it open just a bit, there we go. Now you can see all of those things that were in that filter pull down. You can see them all here. So I just tend to have mine pushed in like this. But if you pull it out a bit like this, you can see all those icons. So I have the material selected here. But now that I've done that, I've lost that material I just downloaded. So let's type in leather. Here it is. Let's grab it, drag it over and drop it. There it is. Wow. That is a particular kind of ugly, isn't it? Let's, first of all, let's drag the scale up a bit. See what we think about something like this. And also let's just turn off the height. See how that works. Yeah, I think that already begins to look a little bit better. We can, of course, scroll down here and maybe take the value down quite a bit darker here. We can maybe move it over to here sum. So I think we're getting something like that. I will close this. Let's scroll down a little more and we can come down here to the patina and leather filter. And this patina color too. We can maybe take this down a little bit darker as well, and maybe something like that. Let's try that. And of course we don't want it on everything else, so we want it only on the leather parts of the chair. So let's create a new group here, call it leather. And let's drag our material into that. And then we can right-click Add Mask with color selection, click on Pick Color and choose that green. And there we go. So it isolates it to just that area. All right. How about the wood? Let's look at this. For the wood, I think we could use that cherry that we used before. I'll just type in wood here. This right here. Let me close this down. Let's go ahead and create a new group. I'll select this one, create a new group. Let's call this wood. And right-click color selection, pick color, choose the red. Let's grab the wood, drag it over and drop it on the wood group. And there we go. Now, let's do a little work here. This is pretty ugly. So let's go back up to the properties here. Let's turn it 90 degrees here. Let's increase the scale quite a bit. Maybe seven. Let's try that and then let's turn off the height. Make it a little bit smoother. I think I need to make it a little bit darker. That would be under the advanced parameters here. So let's click there. Take the value down a bit. Something like that. I think there we go. I might even take that scale up, but just a little bit more. Well, let's try eight. I'll just type in eight there. And I feel like, Let's try this random seed and see if we can get a little bit better grain on here. Yeah, wow. Yeah, I kinda like that. Has a little more definition to it. And lastly, let's make it a little bit glossier. Let's come down to the wood roughness and bring that down until it gets a little bit shiny. Or here, I'll press Shift and right-click and move the light around and we can kinda see it as we do that. Yeah, I think that'll work. Alright, so how about that plastic piece? Let's create a new group. We'll call this plastic. And let's see what we have in terms of plastic over here. Well, we've got this plastic diamond, now. Plastic grainy, plastic mat, plastic glossy. Let's actually use this and then take the gloss down. We're of course going to have to change the color to. But let's right-click and choose color selection. And let's pick that blue right there. And then let's take that glossy and drop it in there. Now of course it's way too blue and way too glossy. So let's change our color. First of all, I'll just grab here and take it into the black gray and also lifts, take the roughness up, which will reduce the glossiness. So I'm thinking something like that. Let's try that. Maybe. Yeah. Okay. Then let's work on these little metal pieces. What are these going to be? I'm going to create a new group here. And let's call this brass. And I will right-click and choose color selection and pick color, select that orange. And let's see what we have in terms of brass here. That's it. Alright, well, I think let's click on the 3D assets here. I'll click on Materials again. Let's type in brass and see what we get. We got polished, sand, blasted, battered, greasy. We've got all kinds of stuff. I'm going to try this one right here. I'll click Send to Substance Painter. And here it is over here. So I'll take this drag and drop it right on the brass. There we go. Yeah. I mean, that's not bad actually. I, I kinda like that. Alright, so now let's do one more. Let's do those wheels. I'll create a new folder column wheels. Once again, we do it by color selection and I'll choose that pink. For this. I also need a plastic, so let's do that. Once again, I'm just going to use this plastic gloss. I think this works pretty well because we have some leeway with it. We can take it down to black and then we could increase the roughness a bit so it isn't quite as shiny. I don't want it to be quite the same as this. I want it to be a little bit different. In fact, maybe I will go back to that plastic stem there. Click on that. And I think I want to make this a little bit lighter like that. So there's just a bit of a difference. Alright, so if we grab a reference image of this and drag it over, Let's see what we can see here. Now, the thing I see is, well, the colors are a little different and really I don't have a problem with that. But I kind of liked these creases, these little wrinkles and folds and creases here on this pillow and on this pillow. And I think I might want to try and replicate that. And to do that, I think we need to go back into Blender. Use the Sculpt tools to get these kind of folds increases, bake out a normal map, and then bring that normal map right in to here. That will allow us to have those wrinkles on the cushions. Alright, Well, let's give that a try. In the next video. 76. 076 Blender's Two Sculpting Methods: Well, that's I mentioned. I'd like to try and add some of this detail. The little wrinkles around the cushions here, maybe for this one and maybe this here. Now, these do have this piping on them that we added to another chair, but I'm not gonna do that for this right now. My main concern is just to show you that we can add a little bit of detail to this using blenders, Sculpt tools. So let's first come over here to the sculpting tab. And I'll just hit the period key on the numpad and zoom in here to the chair. Now the interface is slightly different than the layout or the modeling tab. You've got a lot of very specific tools over here to sculpting. And you can hover over each of them and see what they do. Or you can put your mouse right here, drag out, make it wider, and then you can actually see the names of what these do. And I think that's really helpful if you're just beginning with sculpting, because there are just so many tools here, it's good to have the names in front of you. I think as you can see in the active tool tab, we have our brush settings here, but you also have many of these tools right up here as well. This slider changes the size of the brush. This slider changes the strength, but you can use shortcut keys for that. You can press the F key and then move the mouse or the pen tool out and n to increase or decrease the size. You can press Shift F and move the mouse to adjust the strength of the brush. And of course, you can try out all of these different tools. But really all we're going to use is the dry brush and probably the smooth brush. So if we come over to the chair now and just click and drag, we don't really see anything happening. What we need to do is turn on one of the two different methods of sculpting here in Blender. One is called Dine topo here. And if you turn that on, it will add triangles to the object to get the sculpting strokes. However, it's a permanent thing. It is a destructive process. In fact, if we come up here and try and turn it on, it will say, Hey, this process will not preserve things like vertex colors, UVs, and other data. So if we used the Dine topo method of sculpting here in blender on this chair, we would lose our uv maps and our vertex colors. So we don't want to do that. This method is really great for beginning the modeling with sculpting. Maybe you're creating a fantasy character or an octopus or something like that. That is very organic and you're going to begin from scratch, sculpting, and carving and pulling and pushing to create the character or creature or whatever. However, since we've already done modeling UV mapping, assigning vertex colors, et cetera. We don't want to blow all that away. So there's another method of sculpting that uses the multi-resolution modifier. We can come over here to the modifiers panel, click Add Modifier, and come down here to multi-resolution. If we add one of those to our object, we can then increase the subdivision levels that we're going to use for our sculpting. So I'm just going to click on sub-divide and again and again. And maybe I'll take it up to scope level four. I'll just click on sub-divide until I get to level four. Now, how high you can go with this and still move around in the viewport is really dependent on the speed of your computer. So if you can only go up to two or three and be able to move around. Okay, that's fine. Now that we've done this, if we click and drag on her object, you can see we can drag a scope stroke all across our object here. And that's great and all, but that's not exactly what we want. What I wanted to show with this is, since this is all one object, our scope stroke can go from one area of the object to another. And we may not want that. In fact, let's create a new window over here. And let's bring in, let's create an image editor, and let's bring in that reference image here. Here it is right here. So we just want these wrinkles on this pillow here in the center and the headrest up on top. We don't want it on all of these other parts. So I'm going to press Control Z and get rid of that Skulpt there. So I want to isolate the sculpting just on these two pillows. And actually I want to do them just one at a time. A good way to do that with either of these sculpting tools is just with hiding selected faces in edit mode. So we can tab into edit mode and then hover over, say, this pillow here, hit the L key. Let me make sure seamless turned off. It is okay. Now, if I press Shift and H, it will hide everything except that selected object. I'll hit the Tab key. And now that's the only thing we have here in our sculpt mode. So now we could begin sculpting. I can click and drag like this and began sculpting these wrinkles. However, I'm just using a mouse currently. It's really a whole lot easier to do this with a pen and tablet. And I've got a little way come in two O's Pro tablet, a pen and tablet that I'm going to use to do this little bit of sculpting. If you do not have a pen and tablet, that is fine. You can use a mouse. It can be a little frustrating sometimes because you don't have the control. But in the next video, I'll begin using this pen and tablet to create some of these creases on our pillows. 77. 077 Sculpting the Wrinkles of the Desk Chair: Alright, let's see if we can do a little sculpting on this. I'm just going to zoom in a little bit here and it looks like the wrinkles on the sides kind of angle upward a bit. So I'll try and get something like that. Currently, my brush size is 25 pixels here. If I click and drag, that's what I get. That's not bad. And the strength, if I press Shift F, I can change the strength here. It's about 4.5. Let's just go with that around 0.5. Let's try that. And so what I'm gonna do is just begin here and I'm going to add a stroke. And then right next to it, I'm going to press the Control key and add a stroke and that will cut in. So if I do one stroke, it will pull out. And if I press Control and another stroke, it'll cut in. So if you hold the control key, it'll cut into the mesh instead of pulling out. So I'll just begin going pulling out and then N out in, kind of alternating here between those two. Just to see what I can get in terms of something that looks kind of like wrinkles on a pillow here. So let's go up here. I don't really have any particular method that I'm doing this with. I'm just kind of putting strokes down, seeing what I can get. And then if we come over here, let's do it over here so that we can get like This. Pretty much the same thing, just stroke and control. And it'll just go on up the sides here as well. Something like that. Let's see how that works. I feel like maybe I could use one more in here. And then let's work on the bottom. It looks like those go straight up. So I'll try that. Control. So stroke and then control stroke. Just to kind of alternate between the two. Tumble around here just to get a better view of it. Alright, that looks pretty good. This area right in here, I'm not real pleased with. Let me just try and add one right in here. Something like that. Yeah. Okay. Maybe that'll work. Now. I don't see any on the top here, so that's fine. And then what we can do if it's a little bit too much and I feel like mine is I hunkered down a little bit too much on it. Let's come over here to the smooth tool. And I will hit the F key and increase the size of the brush just a bit. And then I'll press Shift F and reduce the strength some maybe down to three or four or 0.3 or four. And then I'm just going to try and smooth some of this back just a little bit. So it isn't quite so prominent all the way around here. Yeah. Something a little bit like that. So it isn't as I said, so it isn't quite so much. Alright, let's now tap back into edit mode and then press Alt H to bring everything else on the chair back. And then let's just hover over here and press the L key. We'll make sure that seam is turned off. And then let's press Shift H. Here we go. I'll hit the period key to zoom in, and then let's hit the Tab key to go into sculpt mode. And here we go. We can work on this top cushion now. And it looks like the creases are pretty much straight up and down. They're kind of angled at the corners. Maybe. I think it's fairly similar to what we just did. Go back to the dry brush here. Let's take the brush size down once again, pretty small like that. I'll press Shift F and bring the strength to around 0.5 or so. Then let's try and get these on the bottom. So maybe if I just kinda goes like this and Control N, If you get these little creases here in your mesh, that's usually just a display issue. Oftentimes you can just come over here and turn the level view port up one and then back down, and it usually goes away. So that's oftentimes just a display issue and isn't actually on your mesh. Alright, so let's keep going. And there it is again, so it's really isn't an issue. I mean, I could just turn this on and see if it helps it. There we go. Alright, so we've got that. Now I'm going to come up along the sides just a little bit like this. Just a couple in here, like that. Alright, so now once again, I'm going to smooth it back just a bit. I'll hit the F key and increase the brush size. Hit Shift F and increase the strength. Maybe, or maybe decrease the strength and maybe I'll take it down 2.3. Let me do that. Then let's kinda smooth this out salmon and make it so it isn't quite so prominent. And then what we could do just to check it, is we could tab back into edit mode and press Alt H. And then let's tap back into sculpt mode and take a look at the whole thing and just see if they're about the same and they're not bad. I'm going to smooth this out just a bit on the top. And maybe down here as well just so they're kind of the same strength. So that's all I really wanted is just something from a distance, you get a sense that there's some wrinkles and some texture there. Alright, if we go back over to our layout tab here, we don't really see our sculpt information here. And that's because we haven't turned up the level viewport and that's what I was playing with just to remove some of those display errors. But if we just increase this up to four to match the sculpt and the render, then we can see it there. But to bake out our textures, to bake a normal map of these wrinkles, we're going to need to actually take this down to 0. Again. We need to take the level viewport setting to 0 here in the multi raise modifier, and then we'll be able to bake out our normal map. So in the next video, we'll go ahead and use blender to bake a normal map. And then I'll show you a couple of different ways that we can use that we can take that normal map into Substance Painter and use it. Or we can bring the substance painter textures into Blender and then use the normal map here in Blender as well. So either way you want to do it, but we'll work on that next. 78. 078 Baking a Normal Map in Blender: Now let's use blender to bake out that normal map of the wrinkles that we just sculpted to get a better view of that when it's happening, Let's go over here to the UV Editing tab. And what I'm gonna do, let me just hit the a key over here and press the period key. There we go. And I will also change to Solid View tab back into object mode. And what I wanna do is create a new window over here. So I'm just gonna, I'm just gonna come up here, click and drag down to create a new window. And this one too, It's gonna be a shader editor, so we'll select that, hit the End key to close that panel. And so here we have the shader nodes of this desk chair material. So for blender to bake a normal map, it needs an image like a PNG file already created that then puts the normal map information onto. So we need to create an image. And one way to do that is just to come over here to this UV editing panel and click on New. And this will create a new image. And let's, let's call this desk chair wrinkles. And I'll just put underscore NOR for normal map. And we want to keep it as blank because that'll just create a black image and that's all we want. And then I'm going to click Okay, so there it is, there's the black image. Now, we need to put that image appear in the shader editor with the desk chair principled BSD F. So I'm going to press Shift a, go to texture, image texture. And then I will just come over here and pull this menu down and choose that new desk chair wrinkles image right there. Okay, so now we have it here in the shader editor. We don't even need to hook it up to the principled be SDF. We just need it here in the shader editor somewhere. Alright, now let's adjust the render engine that we're using for this. Let's come over here to the render properties. And currently we're using the EV render engine. And if you look down here, there isn't a baked tool or section here in the EV renderer. So we need to change this to cycles. And then when we do that, we get back here. Now, I've got the device selected as CPU. I've got a pretty good GPU in my computer, so I'm going to switch it to that. That'll just help things move a little quicker. In addition, while we're here and we'll talk about this again when we get to the rendering of the scene. But I wanted to mention here that in Edit preferences, if you go to system, you can see what kind of processor and graphics card you have. And depending on what you have, you may want to choose a different setting. Blenders pretty good at figuring out what you have and using the proper settings here. But I've done a little googling and I know that the g-force 30 Eighty works well with this optics. So this tends to be what I have it set for. But everybody's computer is a little different. So you may want to just check out which you want to use here. So just wanted to point that out. Let me close this now. So we've chosen cycles. We can come down here now to the big section and here under bake, let's change the type from combined to normal because we want to bake out a normal map. And here's where we can say that we want to bake the sculpt information that we used in the multi-rate modifier. So we want to have that checked. And keep in mind, you need to have this viewport level at 0 to be able to do this. Alright, I'm gonna go back to the render properties. We've selected normals, chosen baked from multi-rate is we've got our image created and here in the shader editor with the material of the object. So now I can select the object and clickbait. There we go. There it is. So there's our normal map of that wrinkle information that we sculpt it. There we go. Now one last thing we need to do here is make sure it's saved to our hard drive. And you see this tiny little asterix here next to the word image. And what that means is it hasn't yet been saved to your hard drive. And if you don't save it to the hard drive, if you close out a blender and then come back, this could be gone. And even if you come up here and say File, Save still has an asterix here, we haven't saved it to the hard drive yet. There is a difference for some reason between saving a blenders scene and saving an image that's been created in that blender scene. So we need to come over here to image and save. And we're going to put it in the textures folder and in there, in the desk chair folder. And here we go. So we're going to click Save as image. And now that asterix is gone, meaning this has actually been saved to our hard drive and won't go away when we close our blender scene. Alright, now that we've got the normal map in the next video, Let's go into Substance Painter and add it to our textures. 79. 079 Using the Baked Normal Map in Substance Painter: Now back in Substance Painter, we have our chair here. What we want to do next is come over here to our texture sets settings. And here we have all our baked mesh maps. And here's the normal map. What I'd like to do is take the normal map that we just baked out in Blender and bring that into here. So if I click here, you can see these are the maps that we currently have access to from this slot. We need to bring that normal map that we just baked into the project so we have access to it. So what we can do is come over here to the textures library and we can bring that normal map into here so that we can put it in the normal slot. So to do that, let's come over here to this plus this import resources. We'll click here and let's click on Add Resource. And now we just need to browse to our Textures folder into the desk chair. And here is that normal map that we just baked. So I'll select that click Open and now we have to tell it what it is and where it should go. So this is going to be a texture. So it'll go into the texture is library over here. And we want to import this to just this project. I don't need it in all of my projects that I'll ever open. I'm just going to bring it into the chest chair project. So let's click here and then we'll click Import. And here it is. Now all we have to do is just click, drag and drop. And there it is. Now you can see the wrinkle information there on our chair. Alright, so that's one way to do it. So let's go ahead and export these textures out. We'll take them into Blender and then I'll show you just another way to do it there in Blender. Alright, so we'll come over here to File and Export. We'll browse to the desk chair folder right here. Select that folder. We'll choose our blender export template. And we'll go ahead and export these out based on the texture set and the template that we've chosen. Alright, now let's click export. And there they go. Now let's go back to Blender. Alright, here in Blender, Let's go over to the shading tab. Here's our chair. I'll go ahead and frame that up. I'm going to take this and just move it over. We don't need this in here at this point in time. And so now I'm going to select that principled be SDF. Recall that the ad principled setup for the Node Wrangler is control shift T and end the desk chair folder. We can see our textures here. So here's the one we baked out of Blender. Let's use these that came out of Substance Painter. First. Let's select those principles, texture setup. And there we go. Now you can see the wrinkles on the chair. So what we've done is we've created a normal map here in Blender. We've then taken it into Substance. Painter used it to them, bake out textures and yet another normal maps. So what we could do instead is we can substitute this normal map for this one. They're pretty much the same. So let's just say we take this and drag it down to here. We take this and drag it up into here. Now, it looks really weird. Here's the normal map over here. But now the chair looks really strange, right? The problem is, is that you can see we've got the color space as non-color for the normal map that came out of Substance Painter. And we have that also for the roughness and the metallic. And all we really need to do is take the one we've just added and change this from sRGB to non-color and that should help there. And it's pretty much the same thing is true, but keep in mind if you are exporting textures out for say, Unreal Engine or unity or another program that isn't blender. You would then want to take your normal map into Substance Painter and then export it from there as that template or as those presets for that particular program, say unity or unreal. But since we're coming directly back into Blender, I can swap these out and do it either way. So I could have exported the textures out of Substance Painter. If we go back to Substance Painter, I could have exported the textures out of Substance Painter. If I click here, I could uncheck the normal map, only export the other three, and then use the normal map that we created in Blender. So my point is that you have options. And if you are using other programs, exporting out to other programs, you would probably want to use those templates here, say you're exporting to unreal, you'd want to go ahead and export the normal map out with the others from here. So they're all properly configured. Alright, so back in Blender, we can go over to our layout tab. We can go to the material preview, and we can bring back the other furniture here. We can see that we've got another piece textured. Alright, in the next video, Let's maybe work on the desk to finish off this area over here. 80. 080 Using a Custom UV Test Pattern: So to work on this desk, I realized now that I look at this even a little closer, I'm going to press Control and spacebar. The direction of the wood grain is really a little bit more complex than I had first seen. Because we've got wood grain going up and down this way and this way. But on the drawers, they're going horizontally. And even down here along this, it's going horizontally. It looks to me like the grain is going this way on the top and then it's also going horizontal along the edges around here. So I feel like I'm going to need to do a little bit more planning before I take this into Substance Painter. So I'll press Control and Spacebar again. And what I wanna do is use a different kind of test pattern for this. So let's take the desk chair and let's hit M and move it back into the furniture group. And then I'm going to take the desk, I'll hit M and move it out into the scene collection. Now let's turn off the visibility for the furniture. And let's go over to our UV Editing tab. And over here, recall that we've got this material, this UV test material. We've got this UV test texture here. Now if we come down here, we can pull this down and scroll down through all of our textures that we've used so far. Select the UV test texture and you can see what that looks like here. What I've done is I've created another test texture That's just stripes instead of checks. So let's bring that in. I'm going to come up here and click Open Image on this. And in our Textures folder here, I've got this JPEG image called stripes. So I'm going to bring that into here. And then let's open it up here. I'm just going to pull this menu down and choose stripes here. This is it. It's just a bunch of black and gray stripes that I created in Photoshop. Now some of the stripes aren't exactly evenly spaced, but that doesn't really matter. I just needed something pointing all in the same direction that I can use to figure out which way each individual UV island is oriented. So let's come over here to the material preview. And we can kinda see that here. Now I think I'd like these stripes to be a little bit narrower. So what we can do is we can use our Node Wrangler add-on to add a little texture setup. If we hit the End key and go down to Node Wrangler, recall that add principled set up here is Shift Control T will add texture. Setup is just Control T. So if I hit the N key there, select this image, hit Control T. Now it adds a mapping node and a texture coordinate node hooked up from the UV socket. So now what I can do is I can just take the scale of this and maybe increase it to three. I just clicked and dragged on all of those fields and then hit three and Enter. Yeah, something like that. That's kinda what I need. So as we said, it seems to me like the top here should be going this way and the drawers should be going horizontal as well. And down here, right, we've got these going vertically, but down here, I think these should be going horizontal as well. So in different situations, you can actually go out and create your own test pattern in Photoshop or Krita or really any paint or drawing program. You can even take a picture of something if you want, and then bring that here into Blender, hook it up to the material and use it to organize your UV map. So let's go ahead and begin that. I'm going to hit the X here to get rid of that image in that view. And then let's tab into edit mode and hit the a key. And alright, here we go. So let me bring this up here. Zoom in sum. Okay? So first of all, we want to deal with the top here, and that looks to me like that's this. So I'm going to press Alt a over here. Make sure I'm on UV select right here, and I'll just click on it, hit the G key, move it out. And you can see in the 3D view that yep, that's the UV island that we want. And then I'm just going to hit our 90 and enter. So now that is oriented properly to have the wood grain going from left to right. Alright, so that's good. Now, this area right here, let me press Alt a over here and then hit the L key and the L key. And get all of these in here. And we want these to be turned as well. So let me hit the a key and I'm going to come up to our pivot point and change to median point here and hit are non-zero. And there we go. So now let's move this out. Come over here, hit the a key. Now we can see these a little bit better and I'll move these down here like this, kind of out of the way. Here we go. We've got the top there now, I think we need the drawers. So it looks to me like the wood grain is going horizontally for the drawers. So let's come through and with the L key and seemed turned on here. Let's come through and select all of these. And then over here we hit the a key are non-zero, enter, move it out. Hit the a key over here. And then we'll start moving these down as well. Just get these out of the way and kind of group together just so I can keep track of them. Over here. Move to this, maybe over here we go. And as I said, this is really for me to keep organized as I'm working here. Alright, it looks like these as well here. And these on the back should probably be horizontal. So with these selected, I'll hit a over here. Are 90, Enter, moving to the side, hit the a key, alt a. And let's bring these down here as well. Just to keep organized. Alright. What else? Well, I think these right here should probably be going up and down since we've got these vertically on the sides, I feel like these panels should be as well. So over here, let's turn these are 90, and then move these over here. Hit the a key and the 3D view. And let's just take these and move them down here. Okay? Alright, What else? I think these down here, right here, up see, now I need to actually create new seems here and UV map this on its own because I can't currently split this out from the rest of the UV islands, so I need to add a scene. Let's go ahead and do that. Let's right-click here and Alt Shift click along here. And we're going to need to go all the way around here. This it looks like we got that whole thing all the way around. That's good. You and Mark seem. And then down here as well, we'll do this alt click, Alt Shift-click. I'll hit the period key to zoom in. And we'll continue our way all the way around. You and Mark seem alright, so now let's hit the L key here and here, and on around like that. Now these may be a little bit too long. Let's see, Let's press U and unwrap. And yeah, we're getting kind of an angle on those. Let's try conformal. And that doesn't really help much. So I think what I'm gonna do, it looks like there is a seam break here on the actual things. So I'll just pretend like I want it to be that way. And I will add a seem right in here. Let me hit the Z and go to solid view so we can see that. Let's go ahead and add one here. And right here as well. I'll go round on the other side and do the same thing. And right here, you and mark scheme. Okay, now let's try this again. Let's hit the L key and select each one of these all the way around. Now let's UV map this. Let's hit you unwrap. Yeah, that looks quite a bit better. Let's triangle based. It's not really too big of a difference, honestly. The only thing I can see is that these things don't curve quite as much, maybe with angled base. So let's, let's go with that. Hit the a key and hit G, and then come over here and hit the a key. And now we can just take these and move them down. Alright, what else do we need to do? Let's hit the Z key and go back to material preview. Oh, well, now that I've UV map these, I need to turn them donor. So let's come back over here with these selected hit are non-zero. And there we go. Okay, Now we've got that. So I think everything else is pretty well in place. I can't really see here this panel, which way that panel is if it's going this way to match these, or if it's going horizontally to match the drawers and the panels up here. Since we don't really know, we just kinda get to say what we want it to be and I think I just want it to be that way. Alright. Now let's go back into edit mode. And here in the UV editor, Let's hit the a key, and let's go up to UV once again and average island scale. And we go, and now we want to pack islands. And when we do this, some of these are going to turn and we may have to rotate them back. So let's see, let's go to UV pack Island. Sure enough. Some of them turns. So let's come down here to this window here. And let's uncheck this. There we go. So now they stay in the orientation that we put them. There we go. Yeah. So now we've got our UV map organized in such a way that we should be able to get the wood grain of our texture going into proper directions. Alright, so in the next video, we will export the desk out of Blender, taken into Substance Painter and see how we did. 81. 081 Texturing the Desk in Substance Painter: Alright, let's get this ready for export. Let's take away the UV test material here and let's create a new material and we'll just call it desk. Now that we've got that new material, let's come back over to the layout tab and let's think about creating our vertex colors. So it looks like all we have is just to the wood and maybe a brass material here. So let's come over to our vertex paint. Turn on our paint mask, and let's begin selecting this. So really, what we could do here is just select everything we could hit the a key. And then if we come over to our active tool panel here, let me bring this up a bit. We could just go to green maybe and just add that green to everything, Shift K. Now we can go back into edit mode here. And let's just select the handles now with the L key, we've turned off seam here, so that's good. Let's go through select each of these handles. And now if we tap back into vertex paint, Let's choose another color, maybe the blue shift K. And now we have those. Alright, so there are our vertex colors for the desk. That's good. Let's go back to object mode, will select it. And now let's go to File Export, export FBX. Let's go into our Textures folder. And here we should probably create a new folder. Let's just call it desk. And in here we want to create a new FBX file. We'll call it desk as well. And we want to be sure and just export the mesh object type and the selected object. And then we can click export. And there it goes. Alright, let's go over to Substance Painter. Here in substance painter, Let's go over to File New. And this time I'm going to have the document resolution at 4096. I think because this particular object has so many nooks and crannies in it. So many edges, I think I want a higher resolution to work with here in the substance painter viewport. So I'm gonna go ahead and go with 4096. And remember, we can export out at anything we want and we can export out at 4096 or 1024 or 512 or whatever. But this is really so we get the best resolution we can hear in the 3D view. So I'm going to click Select and go to that FBX that we just exported. I'll click Open and Okay, Alright, here we go. Here's our desk. Let's go ahead and bake the textures. We can come over here to the texture set settings and click on bake. Now once again, I want to change the size to 4096 here. And also for the anti-aliasing, I've been using two-by-two, but I think for this because I want a little more resolution for it, I'm going to choose the four-by-four here. And since we've created vertex colors, I'm gonna go to the ID section and change from material color to vertex color. Alright, I think now we are ready to click Bake right here. There it goes. Now it's going to take a little longer this time because we're at 4096, but that's okay. It shouldn't take too long. Alright, the bake is finished. Let's click Okay. And here are all the mesh maps. Alright, let's go back to the Layers tab. I'm going to delete the default layer and let's just find a wood material over here. I feel like this would walnut is worked out pretty well. So I'm gonna go ahead and try this. I'm going to click and drag and drop. And let's see how we're doing here. So it looks like at least for the direction of the wood grain, we're doing pretty well now. That's about what I wanted. We've got the texture going up and down here. We've got them going horizontal on the drawers and these upper panels here, right on the back as well. Here. We've also got them going horizontally down here on the base. So I think this is okay. I think we've got it organized in a way that I was hoping N o on the top here we've got the wood grain going from left to right here as well. Alright, so let's go ahead and isolate this. Now I'm going to create a new group. Let's call this would I'll drag the wood walnut into that group. And then we can right-click, choose color, selection, pick color, and pick that green, and that isolates it there. Now that we've done that, let's play with the properties a bit. I'll select the wood walnut over here in the Layers panel. And let's take the scale up. Let's try three. It's not bad. Let's try five. I don't know. I kinda like three actually. Let's try that for now. We don't need to change the rotation because now we've arranged the UV maps the way we want them. And I think I'd like to go down here to the color and maybe make this a little bit redder and maybe a little bit darker, maybe something like that. Yeah, Let's see how that works. And also I think I need to reduce the roughness, just a hair. Let's bring that back just a little bit and I'll Shift and right-click and move the light around just to see what we think. Yeah, I think that's pretty good. Alright, now let's work on the handles. So let's create a new group here. And I'll call this brass because I think that's what we're going to use for this. Let's go ahead and pick that blue color right here. And let's search for brass. Let's see what we have. So I think maybe the brass battered would be a little too much. Let's try this brass pure. Drop that on there. Yeah, that looks pretty good. And then let's just take this and maybe move the value down some. It isn't quite so bright. Something like that. Yeah, that's pretty good and it's just amazing to me how once you get the UVs arranged in Blender, how quickly the texturing can go in Substance Painter with something like this. Alright, so now that we've got this, let's go ahead and export our textures. I'll come up here to File and Export. And once again, let's browse to our Textures folder. And in that Textures folder, Let's go into the desk folder and select that. Let's change to our blender export template. And for the file type, once again, we're going to keep it with P and G so we can keep it like this. But for the texture set size, I think this time I'm going to reduce it a bit from 4096 to 2048 just to see how that works. And now we can just click export. And there we go. So let's now go back to Blender and see how it looks. Here in Blender. Let's go to the shading tab. I'll select the principled be SDF, the desk material. And let's once again create a principle to set up control shift T into the textures folder, into the desk. And let's select all of our textures here and click there, and there we go. Now we've got our desk all set up with our textures. Let's go over to the layout tab to material preview. Bring back our furniture. Here we go. Yeah, that actually looks kinda nice with the chairs there and the wood. I kinda like that. Alright, now we can start working on these other pieces over here. Notice that we've got our striped UV test texture on these and that's fine. So in the next video, let's work on maybe one of these chairs here. 82. 082 Texturing the Arm Chair: Alright, let's work on this armchair. Let's press M and move it to the scene collection and then we can take the desk object and drag it back into the furniture. Let's hide the furniture. And here we go. Let's first of all change the material over here in the Materials panel. Let's get rid of this UV test material. Let's create a new one and we'll just call it armchair. And then let's start working on our vertex colors. Let's come over here. Change to vertex paint, will turn on the paint mask. And for now let's just hit the a key and select everything. Come over here to our active tool panel. I'll change the color to green. And let's just press Shift K So that does everything. Now we can go in and just select each individual leg on the chair now. So if we press Alt a and then hover over these and press the L key, we can just select each one of these individually. Now let's choose the blue color and press Shift K. And there we go. That I think is really all we need for this. It's just really two colors or two materials, I should say. Let's now go back to object mode. And now we can go to File and Export, export FBX. Let's browse to our Textures folder. And in here we'll go ahead and create a new folder. We'll call it armchair. And in the armchair, of course, we want to put the arm chair, FBX. Alright, Let's just choose the mesh, selected object and export. There we go. Now we go over to Substance Painter. Here in substance painter, Let's go to File and New. I'm gonna go ahead and leave it at 2048. For this one, let's click Select. Once again, go into our Textures folder. And here is the armchair right here. Let's open that up and click. Okay, Here we go. So now let's bake out our textures right over here and the texture sets settings click on bake. I will choose 2048 for this. And just anti-aliasing two-by-two. Let's change our material color to vertex color. And click Bake. Alright, now back in the layers panel, it's removed. This create a new group. We will call this fabric. And I'll just go ahead and add a mask with color selection, choose, pick color and select that green. Then I can just create a brand new one. Let's do that. Let's create another group called it would. Once again use that color selection, pick color, and choose the blue. Now we can just drag what we want directly into these groups. So first, the fabric, Let's search for that. And we've already tried this bamboo one. How about fabric rough? Let's try this. I'll take it, I'll drag it and drop it in the fabric group. And here we go. I think we need to change the colors and the scale. So for the scale, Let's try three, let's do that. That's not bad. Let's come down here and let's try and adjust our color. I want a different I don't know. I don't think I want a blue. Let me I'm going to drag down into the yellow here. And I think I want more of kind of a very light tan or beige or something like that. I'll close that. And then for the wood, I think once again that would that we've been using has been pretty good. Let's just drag this right over into the wood group. And there we go. Now down here, I think we do need to increase the scale quite a bit. So let's try five. How about seven? Let's try that. Yeah, I kinda like that. Let's tumble around back here. Yeah, I like it to be a smaller grain on these. However, I do want this to be a little bit lighter color. Let's scroll down to the color for the wood. And I think I'll just bring the value for that up just a bit. And I don't think I want it quite as red, so I'm going to drag it up out of the red toward the yellow just a little bit. Something kind of like that, maybe to try that. That's kinda what I wanted out of this chair. Let me try and make that fabric just a little bit smaller. I'll choose the fabric here and scroll up. And let's try and make the scale for this. For Let's try that. Is that too much? Do you like that might be a little bit too small. Alright, I'll get a little bit more detailed here. Let's try 3.5. Yeah, I think that's pretty good. Let's go with that. So to export this out, let's of course go up to file and export our textures, will browse to the appropriate folder, which is going to be our Textures folder and armchair. And select that. Let's change to our blender export template. And everything else should be pretty much the same. So let's click export, and there it goes. Alright, let's go back to Blender. Here in Blender, Let's come over to the shading tab. And I don't think we need this over here. Let me close out our normal map from this view. Let's do that. These can move over a bit and let's choose the principle of BSD F. And once again, let's create a principled setup with control shift T will browse to our Textures folder and go into the armchair. And here are those four texture maps that we baked down. Let's click here, bring those in. And yeah, I think that's pretty good. Let's go back to the Layout tab and I'll click on material preview. Bring back the rest of the furniture. And we could take this chair and delete it, take this one, press Shift dx and move it over there. We've got our two chairs. Yeah, I think that'll work just fine. As I said, I wanted it a little bit more of a yellow beige than what we see here in the reference image. And that's fine to go ahead and change it the way you want it. Feel free to customize and personalize this however you like. Alright, We're moving right along in the next video. Let's work on this table here. 83. 083 Texturing the End Table: Now for this end table, let's go ahead and bring it out of the furniture collection by pressing M and choosing Scene Collection. Here it is. Let's grab those armchairs and drag them back and then hide the furniture. Alright, it looks like some of these textures are some of the orientation of the UV islands with these stripes seem to be going in the wrong direction. So let's come back over here to the UV Editing tab. I'll hit the a key and the period key to zoom in. Let's hit Z and go-to material preview. Let's bring back, or let's go and find that reference image for the end table. And I'll press Control and Spacebar. And it looks to me like the wood grain is going horizontally on the drawer up here on these edges, it's going left to right on the shelf down here, which means it's probably going left to right on the top. It's going vertically. The wood grain is going vertically on the legs and on the panels here, on the side and on the back, it's really hard to tell this image isn't a good enough resolution to really be able to tell which way it's going. But I'm going to say it should go horizontally with the drawer here. Alright, with that in mind, let's press Control and Spacebar to go back to here. And it looks to me like the majority of what we just talked about is off, like the drawer is going up and down here when it should be going horizontally, the shelf is going the wrong way, right? The legs here are going the wrong way, the side panels and these edges are going the wrong way. So it's almost as if we could just turn this whole thing and then have to deal with fewer of the objects. So let's try that. Let's just come over here and hit our 90. Let's just turn that whole thing. Now, it looks to me like the only things we really need to do or the top of the legs and the top here. So yeah, that may have saved us a bit of work. Let's try. Let's hit the L key here with scene turned on. And then let's press are 90 over in the UV editor. There we go. Yeah, that gets it going that way, That's good. And then for these pieces, we just need to turn these and I think that'll be it are non-zero. And there we go. Let's hit the a key and let's take a look at what we have here. Yeah, I think according to our stripes, everything is the way we want it. Alright, so, well that wasn't too hard, right? Hit the a key. Now over here, we do need to repack our UV islands into the 0 to one space. So let's come up here to UV and pack islands. Now it turned everything. So let's just uncheck the Rotate box here. And yeah, it looks like now everything is the way we want. It is oriented the way we want. Good. Alright, so let's go back to the Layout tab and we don't need our UV test material anymore. So let's come over here to the material panel and get rid of this UV test material, will then click New, and let's call this in table. Now let's deal with our vertex colors, and let's bring back that image that we had in here, right here. And it looks like we only have two materials, the wood and the brass again. So that's good. Let's come over here to our vertex paint right here. Let's turn on the paint mask. And if I hit the a key to select everything. Now let's go to our active tool. I'll choose the green, and let's just press Shift K, and that gets everything. So now we have to do is just come in here. And with the L key, select just these parts in here, being sure to get those spheres now for the handle. And then let's come over here and choose blue. Press Shift K. And there we go. Now we've got a vertex colors. Alright, let's switch back to object mode. I'll go ahead and save the scene. And now let's export this out and I'll go to File and Export FBX. Here we'll browse to our Textures folder. Let's go ahead and create a new folder and call it n table. And in that folder we'll call our FBX in table as well. Alright, we will choose the mesh object type, selected objects, and click Export. Alright, let's head over to Substance Painter. Here in Substance Painter, we'll go to File and New, and we'll choose, Select, and then our Textures folder. Let's go to n table, grab that entailed FBX, and click Okay. Alright, here we go. So now we can bake our textures over here in the texture set tab, bake mesh. We'll change this to 2048 and our anti-aliasing to two-by-two will be sure and switch from material to vertex color. And we'll click Bake. Alright, now over here in the layers panel, I'll get rid of this and I'll just create two new groups. We'll call this one would just like we did before, and we'll create another one. And we'll call it brass. Now we'll go to each one of these and right-click Add Mask with color selection. Pick color. And for the wood, I'll choose the green vertex color. And for the brass, Let's choose that blue right there. Now we just need to find a couple of appropriate textures so we can search for wood. And that would walnut has worked out pretty good. So let's drag that over here. That's not bad. Let's change the scale to three and see how that looks. Yeah, that's pretty good. I think it needs a little more gloss or a little less roughness. So let's bring the roughness down a bit. If we go all the way down, we get a very reflective surface. So I'm just going to bring it down to about right here. And then for the brass, recall that we have that brass material in here. Here it is. Brass pure. Let's drag that over, drop that in. And for this, I think I want that brass to be a little bit darker. So let's take the value down quite a bit as if it's a little older. Like that maybe. Okay. Yeah. I think that's pretty good. Let's give that a try. I'll go ahead and save this with Control S and N are in table folder. Let's create this table Substance Painter project. I'll click Save. And now let's export this out. Let's go to File Export. Textures will browse to our Textures folder in table and select that folder. We will choose our blender export, output Template, and everything else should be fine. So let's just click Export. And there it goes. Alright, let's go back to Blender. Here in Blender, Let's go over to the shading tab, and let's take our nodes and move them over here, I'll select that principled BSD F, and let's press Control Shift T for our Node Wrangler. And in our Textures folder and in table folder. Here are all of our texture maps. Let's select them. Click here. There we go. If we go back to the layout tab, let's switch to our material preview. Bring back the rest of the furniture. And there we go. Now we've got our n table. 84. 084 Preparing the Sofa for Export: Well, let's now turn our attention to this sofa. And I think it presents a couple of interesting challenges. First of all, I realized the way I put the seams in here may not really work. It really seems like that Chesterfield texture should kind of go all the way around all-in-one without a break in the seams. So we may want to take the seams out. But if we do, we're going to have to rearrange the UV Island. I think there's also this scene here, but I think we may be able to manage minimizing this seem a bit in substance painter. So let's first of all take a look at the UV map. Let's go over to UV Editing. And if I hit the a key, now we can see all of this over here. And it looks pretty good. But as I said, I think I want to take out these seams right here. Let me press Alt and click here. And then I'll press Control and click here to select that seem from there all the way around to here. And let's press U and clear seam. And then let's also do that over here on the other side as well. Right in here. Alt click and then Control click here. You clear seen, okay, now that we've done that, let's hover over this and press the L key and width seem turned on. It'll just select that area in there. Let's then press U and unwrap and see what happens. Alright, let me hover over this and press the L key, and I'm going to turn it 90 degrees. And now let's take a look at the stripes here. And you can see that the stripes don't turn with the arm of the sofa. They continue on going this way. And I think what we want is we really want for that chest. Your field pattern too. Follow fairly smoothly around here. We're going to need the stripes to continue and turn at like a 90 degree angle here instead of heading off diagonally. So to do that, we're going to have to work a bit with the UV map here. So I think what I'll do is try the proportional editing tool with this, just to take these edges or these bent sides and kind of straighten them out so they're in line with the center part here. To do that, let's go to UV select here, and I'm just going to select one uv point. And I'll press Shift S to, to bring that cursor to that point. Now, I want to be sure and rotate around the cursor. So I'll choose 2D cursor here under the pivot menu. And let's then select this edge right here. And we're going to try and just turn this and rotate it at this point. So let's turn on the proportional editing tool here. And I'm also going to turn on connected only. I think we'll be fine because no other uv islands are showing at this point in time. But I just want to go ahead and do that just in case. Now, when I hit the R key, you can see, if I scroll in, you can see that circle there that the influence of the proportional editing. So let me just scroll in a little bit more here and I'm going to hit our scroll in just a bit. And then I'm gonna begin to turn this a bit. Then scroll out a bit, turn it a little more, scroll out some. And if you watch over in the 3D view, you can see those stripes turning in line with the rest of the UV island. So maybe, maybe something about like that. I'll click there and then maybe I want to move these up too, so I'll press G. And why? I'm going to move these up just a little bit like this. They're kind of in line there with this. So what has happened over here? You can see the stripes have come around like this horizontally instead of over here you can see these are still going diagonally. Alright, so let's try that again. Let's come over here. Let's choose this point on this side. Let's move to 3D cursor to it. Let's select this row of UVs. And then once again, let's press R. And we'll begin to turn these just a little at a time and then scroll out some. Roll out a little bit more. Maybe not that much. There we go a little bit like that. And then I want to move them up just a bit with GY and I'm going to move them up just a little bit. I'll scroll in just a little bit there. Okay, Now, how does that look? Let's tap into object mode. And I've curved these around here just a little bit, but I don't think that's gonna be too much of a problem. I just wanted to make sure that these turned here and kept in line with the rest. Alright, so let's tap back into edit mode and hit the a key. And we're going to have to repack these now. Soiled hit the a key over here in the UV editor. Uv. I'm gonna go ahead and average island scale just in case. And then I'll pack islands. Now we can, if we want, uncheck the Rotate box and this is what we get, but it really doesn't use the 0 to one space as efficiently there. So I'll go ahead and turn that back on. There we go. Now we've got that whole area as all one UV island. Alright, let's go back to the layout tab. Let's go to our materials panel and let's get rid of this UV test material. Let's create a new material. We'll call it a sofa. And then let's work on our vertex paint. So it looks like we've got three different materials here, right? I mean, I know we've got the wood on the feet of the sofa, but really the Chesterfield pattern is a separate thing than the rest of the leather. So I think those are two different materials. So we're going to need three vertex colors for this. Alright, let's go to our vertex paint here. I'll turn on our paint mask. And let's just hit the a key here and select everything. And then in our active tools, I'll select the green and let's press Shift K. Let's tab back into edit mode. And I think I just want to select this and this. And I think down here, we need a little bit more. Here we go. I'll hit L right here. That selects those. And then I'm just going to press Control I to invert the selection like that. Now if we tap back into vertex paint, Let's select the blue shift K. And there we go. Then down here for the feet of the sofa. Let's go around and select those. And let's give those the red color, shift K, Alright. Paint mask. Turn that off. Now, it looks to me like we may have a little issue here. Let's tab back into edit mode. And sure enough, it looks like these are a little bit off, like the green has bled out beyond the seam there. So let's try and fix that. I'll just hit the L key here. And then we'll tab back into vertex paint. Turn on the paint mask and yeah, you can see how the green kinda bled over. We don't want that. Let's select the blue and Shift K and get that all taken care of. Okay. Now, let's take a look. Yeah, that's pretty good except look at this over here. I just feel like the green went a little too far. Here's that line of basis by the same. And if we tap back into vertex paint, you can see there are green when they should be blue. So let's select those and also let's just come around. I'll press Control and click, and then Control and click to get that whole thing there. So I'll turn on the paint mask, press Shift K. And there we go. Now we've got that blue as well. So yeah, we just had a little bleed over there with the green and that sometimes happens. Let's go back to object mode and then we can export this out. I'll go ahead and press Control S to save File, Export, export, FBX. Let's take it into our Textures folder. We'll create a new folder, call it Chesterfield Sofa. And down in here we'll do the same thing. Will then select the mesh object type selected objects, and let's hit Export. All right, In the next video, we'll go over to Substance Painter and begin adding our textures. 85. 085 Texturing the Chesterfield Sofa: Here in substance painter, Let's go to File New and we'll just go ahead and keep it at 2048. I'll choose Select, and in our Textures folder, we'll choose the Chesterfield Sofa FBX. And we'll click. Okay, and here we go. Alright, so our first order of business is to bake the mesh maps. So we'll come over here and click on bake 20480. I'll give it two-by-two anti-aliasing and the ID will change to vertex color and click Bake. Alright, so now we have our mesh maps all baked. Let's go back over to the Layers panel. And here let's just create our three different groups that we're going to need. We'll call this one Chesterfield. And then maybe one we'll call leather. And one we'll call wood. Alright. So let's go ahead and right-click on the Chesterfield, Add Mask with color selection. Pick color and we'll choose that green. Now, I've got a Chesterfield texture over here that I've downloaded already from the 3D asset marketplace. And let's just take that and drag it over and drop it on the Chesterfield group. Alright, so we've got a little work to do here. Well, let's first of all go to our scale right here, and let's, let's try three. And that's not bad. And then let's change it to a brown leather. Let's see, right here under Presets, we can pull this down and change it to a dark brown leather. Let's do that. Now. The issue I'm going to have here, I think, is that if I try and bring yet another leather in here and let me find one. Let's say I find a leather plane. Let me right-click and go to Add Mask with color selection, pick color and I'll select the blue. And then I'll take this leather plane and drag it onto that group. Now, we've got to leathers here, but they're very different colors and textures. And to try and change the color and the texture to match each other is gonna be a challenge. So one of the things that we can do is we can actually take this texture here and drag it out of the group. Put it above the Chesterfield group. It will apply all of the color and texture information to the Chesterfield group as well. So here let's take this, drag it up out of the group right here and bam. So now it's a whole lot easier to match the Chesterfield part with the rest of the sofa. So actually we can just take this group here and hit Delete and get rid of it. Now let's work a little bit on this leather here. So I'll take this selected. And if we come down here, this leather plain material is kinda cool in that it has a lot of different settings in here. It's got the main properties, but it's also got some aging dirt. It's cut, blood splatter. It's got all kinds of things in here that you can play with to get it just the way you want it. But first of all, I'm going to go into the main here. And for our color, think I don't want it to be quite so dark, so I'm going to pull it back a bit like this and maybe increase the redness just a bit as well. I don't think I want it quite so brownish, maybe a little more red. And then what I can do is increase the scale just a bit on this one as well. So hit three and kind of increase that a bit. Now we've got these folds here. And that's down in these advanced parameters, I believe the folds intensity, but also the fold scale. So we could increase the scale to say a 100%. And that helps smooth that up some. And then we could take the folds intensity down a bit. So it isn't quite so prominent. But also, I'm not a big fan of all these little tiny things here. Let's see if we can reduce some of that. If we come into the basic parameters, maybe we can take the height range down just a bit so it isn't quite so prominent, right? That's smooth, that out just a bit there. And we want it that shiny. It's not bad. But while we're here, let's take the roughness up a bit so it isn't quite so shiny. Alright, that looks pretty good. It's got the pattern here going kind of evenly all the way around. And that's kinda what I wanted back here. It is a bit stretched. Right. But I think I'm going to go ahead and go with that for now and see what I can do. See how it looks in the room. But these edges right in here, this transition from the Chesterfield to the leather is really pretty gnarly. I don't think we want it quite like that. One way we may be able to clean this up is over here in our texture set settings. If we scroll back up and then maybe down some to this UV padding. Sometimes if you've take this and change from 3D space to UV space like this, that'll clean that up quite a bit. Yeah, that really helped. Okay, that's pretty good. Another thing we could do is also adjust how much that Chesterfield pattern is affecting that. So if we go back to the layers here, if we come into this Chesterfield group, we've got this color selection right here, and that's the ID mask. And if we take this output value and drag it down a bit and see if we can take the influence of the Chesterfield all the way away if we wanted, because we've still got this leather playing over the top, right. If we take that output value and bring it back, bring it back until maybe that transition here between those two isn't quite as prominent. Maybe just type in 0.5. Here we go. Now, it's still there, of course, yes. But I don't think it's quite as prominent as it was. I think that's actually pretty good. Now, if you've got some of these Chesterfield buttons right here on the edge, kind of being halfway cutoff, which you can do is come over here to the Chesterfield material. And on the offsets here, we can maybe click and drag on the offset and you can see you can pull them forward and pull them back a little bit. So if you have one that's kinda cut off like that, just come over here to the offset and see if you can find a place that works pretty well for you. Now, I do need to deal with the wood here on the feet. So let's do that. Let's take the wood and add mask with color selection and pick that red color. And in here, I'll go to wood. And let's use that wood walnut one more time. And I will take the scale up to three. And the roughness I'll take down a bit so it's a little bit shiny or something like that. Alright, there we go. Now we've got our Chesterfield Sofa. The next thing we'll need to do is export these textures out and take them into Blender. But we'll do that in the next video. In addition to adjusting the UV of our Chesterfield chair and getting it ready for export. 86. 086 Painting Out Problem Areas in the Normal Map: Well, since the last video, I've made a few adjustments for the leather material. I've selected this and I've gone down into the advanced parameters. I've changed the color just a bit and the roughness in the main section here, I've also gone into the aging and turned this on and the dirt and turn this on and adjusted these settings a bit. Now I didn't think we needed to go in and add any blood splatter here, but that's kind of what you'd get if you do. But I don't think that's quite what I'm going for in this particular project. But I just wanted to let you know that I had gone in and made a few adjustments. Alright, so now let's go ahead and export this out. Let's come over here to File Export. And we'll put it in our Textures folder, our Chesterfield Sofa folder. And we've got blender export here. We've got PNG, or based on the output template here, I've chosen 2048 and the size. And from here we can just click Export. There it goes. Alright, let's go over to Blender. Here in Blender, I've gone over to the shading tab, and let's down here. I'm just gonna hit the Home key on the keyboard and that will bring the material nodes into the center there. And then I'll select these, hit G and move them over a bit. Let's select the principled be SDF. Let's press Control Shift T. And we'll go into the textures folder, Chesterfield Sofa. And here are our texture maps. Let's go ahead and grab those and bring those in. And yeah, that's kinda what I was hoping for there. That's pretty good. Let's turn on the material preview. Here. There we go. And yeah, I, I kinda like that. Let's go back to the furniture here, bring everything else back. And I kinda like that. We've got a similar color to the wood. I think that's kinda nice. Now, one thing I will point out, if we zoom in here, look at this. Those little jagged edges are back. And you might think, I thought we got rid of those back in Substance Painter. Well, we did for the color. But oftentimes for something like this, it's actually the normal map that causes these kind of problems. So let's go in and take a look at that. Let me hide the furniture. And to work on this, let's go into the texture paint tab right here. Now you can see it's automatically brought in this base color texture map. If we zoom in here, Let's switch over to the material preview now we can see that if we zoom in here, how are we going to go about fixing these jagged edges here? Now as I said, my first instinct would be to come in here and to try and paint it out in the colormap. I'll hit the F key and bring this down, bring the radius of the brush down a bit. I mean, paint mode here, I'll click on the color swatch, click on the Eye dropper, select one of these to get a brown color and then if I paint on it, so if I just click and drag and there isn't really anything happening, I could let me press control Z and let's just choose a black so we can really see what's happening. If I click and drag on this, like this. You can see that it's filling that in. But the jaggedness is still there, right? So we're not really fixing the problem here. And let me select a brown again and click and drag along here. And you can see it made it a little bit darker, but it really isn't doing anything. So as I said, I think the problem is the normal map. So what Let's do is pull this down and instead of the base color, Let's choose the normal map that was exported out of Substance Painter. Now, it's a little easier to do this when you can see the wireframes here. If you can't, you can come up here to View and check display, texture, paint, UVs, and then you should be able to see the wireframes. Alright, so let's go in here and what we wanna do, you see, you can see how we've got these edges, these little jagged edges going into the UV map there. And I think that's where our problem lies. So if we tried to do this, again, if we came up here to the color swatch, clicked on the eyedropper, clicked on the bluish part of the normal map, and then we click and drag along here and look what happens. It kind of works there, right? It's cleaning up the jagged edges, but it's the wrong color. So what we need to do is just find a neutral, flat color to paint on the normal map. And the middle default color for a normal map in Blender is 0.5.51 in the RGB. So here for the red, I'll type in 0.5, green, 0.5, and blue one. So that color is what a normal map is when it's completely flat. Anything brighter than that will seem to push things out, and anything darker than that will seem to push things in. So if we come over here to say the Chesterfield pattern, you can see how the parts that push in or a little darker than the parts that seemingly push out. But if we take our flat normal map color and come in here and just click and drag right along that edge. Let's see what happens. There we go. And look how clean that is. That's pretty good. Yeah, so that really helps clean up those edges. Let's come around here and see if we can see anything over here. No, that looks pretty good on that side. What about over here? Well, we can try it on this side as well. Yeah, That's pretty ugly. So let's come down here. And it looks like right in here, that's the problem. So let's just click and drag and put that color right down there. That helped. So that's how you can clean up a normal map. It's good to know that here in Blender, 0.50.51 is the default neutral normal map color. Now you're not going to need this often, but put it in your back pocket so you can pull it out if you need to. It's really good for being able to paint out problem areas like we've had here. Alright, in the next video, we will work on the Chesterfield chairs. 87. 087 Using Smart Materials in Substance Painter: Now let's see if we can do a similar thing with one of these Chesterfield chairs. I'll go ahead and hit the M key and bring it out into the main scene collection. Looks like we still have the sofa out here, so I'll select that, press the M key and take it into the furniture collection. Now we'll hide the furniture. And now let's work on this. We just really need to go through the same process that we did with the sofa. Basically figuring out what edges we need to remove. And in addition, take a look at this. Let me hit the Z key and go to Solid mode. It doesn't look like I added a seam along the bottom of the arm here to split where the Chesterfield pattern is and the plane leather. So let's just select this edge all the way across. And I'll de-select these two and let's just put a seam here. I'll hit you and Mark seem alright, so that's there, that's good. What about these? Let's select these again, just like we did before. Control-click that to connect the selection. And let's hit you and clear seam. And we'll do the same thing over here. Control-click you and clear seam. Alright, so now we've got that as all one UV island there, I'll press the L key seam is turned on so you can see we have that selected all the way around. Alright, so once again, let's hit you and unwrap. And now let's come over here and select that point we did before. Let's press Shift S2 to move the cursor to it. I'll press Alt, click for that edge there. And then with our pivot point at 2D cursor and are proportional editing turned on? Let's press R and begin to turn this. I'll expand the selection a bit. Maybe, maybe even bring it in. Let's see. Now I think bringing out a bit better. There we go. Let's do that. And then let's do the same thing here. Let's select that point, shift this to Alt, click that edge, and let's hit R and begin turning this. Kind of expanding it out just a bit as we go. And maybe something like that. Alright, let's try that. I'm going to hit the L key. Oh, I was going to turn it, but let's first of all change to median point and turn off the proportional editing before I try and turn it. So I'll press R nine to 0. There we go. And now this, Let's bring back the material preview here, just so we can see those stripes. And yeah, now those stripes kind of curve around horizontally where the Chesterfield pattern should go. So I think that's what we want, but we do need to select everything here, hit the a key and the UV editor. Let's go ahead and average island scale. And then we'll pack islands. We can turn the rotation off here. And now we have those pretty much the way we want them. I think that's good. Alright, so let's go over to the layout tab. And over here let's go to the material's property. Take away that UV test material and we'll call this Chesterfield chair. Now we just need to add our vertex colors. So let's come over here, go to vertex paint, turn on our paint mask. And then let's tab into edit mode. And let's press the L key here, here, and even up under here, I believe we need it. Yeah, right in here, I'll press the L key. So those we need, Let's tab into edit mode, go to our active tool and I will select the green again for this shift K. And I'm using the same colors because I want to show you a trick in Substance Painter using smart materials to put the exact same texture on this that we did the sofa. Alright, so I'll tab back into edit mode, and I'm just going to select all of this here, and here, and here and here. So let's do that. I'll tab back into vertex paint. I'll select the blue Shift K. And then if we go back into edit mode, we can press the L key to select all the feet back into vertex paint. And let's make this red shift K. There we go. Alright, so let's turn off our paint mask and take a look at it. Now, it looks like we missed a piece in here. What is this? Let's press the L key here and turn on our paint mask out. It looks like I missed an area right in there. So that is what blue. Let's select that shift K. And let's try that. I'll turn the paint mask off again. Alright, now we've got our vertex colors. Let's go back to object mode, and now we can export this. I will go ahead and save the scene with Control S. Let's go to File export FBX. And in our Textures folder, I will create a new folder called Chesterfield chair. And in that folder we just need an FBX with that name as well. Alright, I'll choose mesh and selected objects. And let's click Export. Now we can go to Substance Painter, urine Substance Painter. I'm still in the Chesterfield Sofa project because I want to show you something that we can do with these materials. So if we come over here, we've got something called Smart materials. And these are groups of textures and materials that have been pre-made for us by the good people at Substance Painter. And if we take a look at one, let me grab this bronze here. I'm gonna click and drag and drag it right up on top here. And it will of course apply to everything because it's on top. But what I want to show you is if we open this up, It's just got a lot of materials and textures and maps that you can go through and adjust, just like we have with the ones we've created to get it to look just the way you want. But my point here is that It's just a group. I'll go ahead and delete that. But if it's just a group, if all of these are, when we drag them over here, is just a group. Can we take a group that we've created and make a smart material? Well, yes, we can. And that is what I'd like to do so that we can use these exact same materials for our chair. I do want to change the names here before we create a smart material just so we can find them easier here in this panel. So I will come in here and I'll just call this Chesterfield wood. And down here I'll call this Chesterfield main just so we have them all named Chesterfield so we can find them. But what we can do is we can just go to this group and right-click and choose Create smart material. And when we do that, look at this, there it is. And if we come down here, we can do the same thing. Right-click on this group, create smart material, and here it is. Here those two, this one, however, if we select just that material and right-click, we do not have the option to create a smart material. So all we really need to do is just create a group. I'll just click here. And this will be Chesterfield leather. There we go. And then we'll just take this, drag it into it. And now we can take this group and right-click and create a smart material. Alright, now we've got these over here. Let's close this file close and save. And now let's go to File New. And bringing that chair. Here it is here. Click Open. And Okay, and now we need to bake our textures. Let's come over here to the texture sets, settings. Fake mesh maps, 2048, two-by-two for anti-aliasing and vertex color. Now let's click Bake. Now that that is done, if we go over to our Layers panel, we can take one of these smart materials, have out the Chesterfield main, Let's take this, grab it, drag it over here, and look at that. Since we used the same vertex colors for the chair as we did the Sofa, it knows just where to put it. So now let's take the wood here and drag it over. And I'm going to put it up on top here. There it is on the feet. Now let's take the Chesterfield leather and let's drag it and put it right in between these two. So it's on top of the main. There we go. Now we've got our chair all textured. Now there are of course some issues. Recall that we had issues here. And once again, we should be able just to go over to the texture set tab under UV padding and change to UV space. And there we go. Now we can export our textures out to our Textures folder into the Chesterfield chair folder. We'll use our blender export. And everything else is good. So let's click Export. Now back in Blender, let's just choose our principal, BSD F, press Control Shift T, browse to our textures for the chair, bring them in and there we go. Alright, so now we have our chair. We can bring back the rest of the furniture. Let's take this and delete it. Let's press shift D and X and move it over. Then we'll press our z1 AT. And there we have our two Chesterfield chairs. 88. 088 Texturing the Small Round Table: Well, the last little bit of texturing we need to do for this grouping of furniture is this little guy right here, that small round table. So let's bring it out into the scene collection and then let's take whatever we have in here. It looks like two chairs and drag those into the furniture collection and hide that. Alright, so for this, let's go into the UV Editing tab. I'll hit the a key and press the period key. And here what Let's do is let's figure out which way our UV texture should be facing. Let's go grab that reference image for this particular object, it looks like it's right here. And for this, I think we want the stripes to go horizontally along here, and along that edge, vertically along the legs, and horizontally along this edge here. So it really looks like we could just basically turn the whole thing and we'd be pretty much done. So let's just hit the a key here, select everything. And then over here in the UV editor, let's just press R 90 and turn it. Now let's take a look at it. And yeah, we've got our stripes going in the correct direction here. Our stripes going vertically here and horizontally here. I think. I think that's all we need. Yeah. So now we just need to take all of this, hit G and move it into the UV space a little bit better. Maybe like that just so we don't have anything hanging outside of this 0 to one space. And now I think we can export it. Let's go back to object mode. I'll come over here to the Layout tab. And if we go to the Materials panel, Let's get rid of that material and let's create one for the round table. And now let's just go ahead and export. I'll hit Control S and save it. File export, FBX. Let's go into the textures folder and let's create a new folder here and call it Roundtable. I'll press Control a and then control C to copy that, and then hit enter, go in there. And now I can press control V and paste that here. We'll choose mesh, selected objects, export. And now we go to Substance Painter. Here in Substance Painter, we'll go to File New and select. In our Textures folder will open up the roundtable folder, grab that FBX. Okay? And then let's just come over here and bake the mesh maps. Let's then select 2048 for output, two-by-two for the anti-aliasing and under ID. We don't need to change this. We didn't create any vertex colors in blenders, so we can just leave that as material. And now we can click Bake. Okay, now let's come over to the Layers tab and let's just find our wood material. I'll just continue to use this one here. Drop that in, and that's pretty good. We could, if we wanted to change the scale, maybe I'll put three to make the wood grain a little bit smaller. But other than that, That's really all we need. I'll press Control S. And let's save this in our Textures folder, the roundtable folder, we'll call it Roundtable. And now we can export our textures. Let's go to File Export. And for the output directory, let's browse to our Textures folder, Roundtable folder. And let's choose blender export here, and then Export. Now back in Blender, we can choose the principle of BSD f of the roundtable material, press Control Shift T and N are Textures folder. We can open up the roundtable. Here are the texture maps. Let's bring them in. And there we go. Now if we go back to the layout tab, we can turn on material preview. Bring back the furniture. There we go. We've got the furniture in the scene textured. Now, for the next section of the course, we're going to bring back the room and the fireplace. And we're gonna go through the same process to try and put our textures on the room to get it ready as well. Once we do that, we will then begin looking at what other pieces we can add. What are the things we can model and texture. To add a little more interests in life to the room. 89. 089 Beginning to UV Map the Room new: Now that we have the furniture UV mapped and textured, I'd like to begin working on the room. And this of course, needs to be UV mapped and textured. But I think I'm going to try and do it all at once. I'm going to go through and UV map all the pieces. And then we're going to take the whole room in as a single unit into Substance Painter. And the reason why I wanted to do that is because I want to be able to see all the textures on the walls, and the pillars, and the floor, and the fireplace, etc., all in relation to each other. The furniture that wasn't that important. But I think for this, we're going to want to see all of the materials on all the objects of the room. Before we say, Yeah, that's good, and we began exploiting our textures. So let's first of all begin by UV mapping. Let's go up here to UV Editing. And I will change over to solid view here. And let's begin by UV mapping the floor. I'm going to click over here and just drag this cursor out of the way and then switch back. Let's tab into edit mode and hit the a key and take a look at what we have here. And really my only concern is the top plane. I don't really care about everything else. But I'm gonna go ahead and UV map them anyway, just because it's easy to do by pressing U and smart UV project. Oh, and let's add an island margin here. I'll try 0.001. Let's try that. And then let's click. Okay. Alright, now, this doesn't look quite right now, does it? It doesn't have any long, thin parts, like we see on the 3D model. And as we've learned what that means is we've gotten non-uniform scale here. And in fact, we've probably got non-uniform scale for just about everything here. So what Let's do is just hit the a key to select everything and press Control a and apply the scale. Now if we come in and select all the different objects, you can see that we now have a uniform scale for everything. So that was easy. Now, let's try this again. Let's tab back into edit mode. Let's hit you. And smart UV project. And okay, here we go. Now we're getting better proportion for our UV islands in relation to the 3D object. But which thing is which? If I just select this face here, we can see that that's the one we actually care about. So with this selected over here, I'll just hit the a key in the UV editor and let's just pack islands. Now we're giving that one face as much of the 0 to one space is we can. Now if we press Control I over here in the 3D view and select all these other things. We can hit the a key, G and move these out. Now if we hit the a key for everything, we can take these now and just begin scaling them down like this and kinda hide them away right in here. Because no one will ever see the other faces of this object. And we can just hide them away there. We could keep them outside the uv space as well, but I'm going to go ahead and put them in here. Now one last thing, I do want to add a few edges in here because sometimes adding a texture to a single face can be problematic. So I'm going to right-click and choose sub-divide and then maybe give this to cuts. So we have a few edges on this. We also added them in here, but once again, that doesn't matter. Alright, now we've got that, let's give it that material. In fact, you know what? Yeah, that material isn't here anymore because I gave all of the objects a new material and it was sitting out there unassociated with any object. It wasn't connected or applied to any object. And therefore, when I close Blender and reopened it, it went away. So any material that isn't applied or isn't associated with an object will just go away. It will just assume that you never wanted it. So let's create a new material. We'll call this UV test material. And over here, I will press Shift a texture, image texture, and let's create a new UV test pattern here. And I'll choose UV grid and click Okay and connect it with the base color. And now if we switched over to material preview, we would see it there. Now if I wanted to keep this material even though it isn't associated to any object and make sure it sticks around. Even when I close Blender, I can come over here and create a fake user. And really a fake user is a fake object. A fake object that's using that material. So you can just click here, create that fake user, and it'll stay in your project even though it has no object that it's associated with. Alright, what else should we do? Well, let's work on the easy things first here. How about how about the window seat here? Let's just work on that. Alright, let's press Shift H and let the period key. Now for this, we probably don't need the faces back here, I don't believe because no one's ever going to see them. So let's just delete and delete faces. And this one too, let's do that. Then we can just select everything and hit you and smart UV project. And there we go. We've got a very small island margin there. We could maybe take that a little bit higher, 0.01 and spread it out just a little bit more. That's probably good. Alright, let's go ahead and go with that. I'll press Alt H to bring everything else back. And then what else? What else do we think is easy? Well, maybe all these pillars here. And actually now that I think about it, I'm going to want just one material on all of these. And if we recall, a UV map is really intricately related to the material. We kind of split a UV map into by giving an object to materials. If you recall that we really need, if we're going to have objects, have the same material, they really all need to be on the same UV map. So since they're on the same UV map, maybe we should just make them all one object as well. But if I recall, we have an array modifier on a couple of these. Now, don't link. Let's come over here. Yes, we do. So we really need to apply the array modifier before we try and join these together. So let's come over here and apply that. And let's apply this. What about this? These are just independent. Okay, so now that we've got those, now let's try and join them together. Control J, there we go. That worked. Now if we hide everything else with Shift H, Let's take a look. Well, we don't really need the things in the back, do we? I mean, we don't need these faces back here. It looks like they've already been removed from these over here. We don't need these faces because no one's ever going to see them. And do we even need the tops and the bottoms? Well, probably not. Let's go ahead and get rid of those. I'm going to go through and select all of these and delete these. Alright, I've got all of those selected. I'm gonna delete those. And then let's just select everything. And let's press you smart UV project. I've got 0.01 for the eyelid margin. Let's click OK. And there we go. I think that'll work just fine. And now let's press Alt H. And what else can we do here? Well, we can do a couple of the walls. Let's do that. Let's begin with this wall back here. Or actually let's begin with this. Well, this one looks even easier than that one. I'd like to begin with the simple things first and kinda warm up before I deal with the more difficult things, Let's press Shift H to hide everything else. Let's tab into edit mode. And let's just hit the a key you smart UV project. And let's see how we're doing here now, I was going to say we should select this face and make it as big as possible within the 0 to one space. But it already is the biggest possible. So I think we're good. We can just leave that as is. Alright, Let's tab back into object mode and press Alt H. And let's take a look at this wall here. Shift H. Let's zoom in. Let's tap into edit mode. I'm just going to Alt. Click these edges all the way around. Something like this. And down here too, they came around the back like that, but that should be okay. Let's press U and Mark seems there. And then let's just see what we think. Let's hit a U and click unwrap. And so here is the part that we want. If we hover over this and press the L key and then turn on seam, this is the part that we want, right? That's the only part that's gonna be seen. So let's just hit the a key here and come up. Click on UV and pack Island. And if we wanted to turn it, we could, There we go. So then that means if we select everything, we could just turn on UVs, select click here, and just move this out. I don't even need to really turn it, but I guess I will and then I'll just scale it down and put it up here and out of the way. Alright, there we've got that one, Alt H now. And let's then go into material preview. Let's add that UV test material to the things we've already uv maps. So for this, let's go ahead and type in UV. And what else did we do? We did this wall. So I'll shift click the floor and press Control L and link material and that will add that material to that wall. Let's do the same thing over here. I'll select this then Shift-click the floor control L link material. And we go, oh, and we've done the pillars to Haven't, we let select those, Shift-click the floor control L and link materials. Alright, so that's what we've done so far, I think in the next video, we will continue UV mapping the room. 90. 090 UV Mapping the Fireplace new: Let's now work on the fireplace here. I'll zoom in with the period key and let's select all these parts. The pillars, the fireplace, the base, et cetera. And then I'll press Shift H. And here we go. I'll go back to Solid mode. And let's just begin with the mantle here I'll tab into edit mode. And I think all we really need to do is just add seems to the corners here, like this. And then also we should probably add seems to the very top. And I would think the bottom as well. I'd like to isolate the mantle a little further. And since we've already used Alt H to hide everything else except this, I'm just going to use the division key on the numpad, which is kind of like a local mode for the selected object. So I'll hit that division key and there we go. Now it's just in local mode. You can see that here. So now if I tab into edit mode, I can see this a little bit better. So I'll just select these now down here and add the seam here. And it looks like we removed the back faces of this when we were modeling it. So that's good. Let's hit the a key, Let's hit you and unwrap. We could try conformal, see if that's a little bit better. I think it is because now these are more similar in size. So I think that's pretty good. I may want to turn this one here, so it's in line with the rest of these. I'll press R 90 and let's just move that out. I can move that out here like that. Now the wood grain should be going in this direction for all of the UV islands. Alright, Let's tab back into object mode. Let's hit the division key to come out of local mode. And let's try this little piece right here, that fireplace trim there. I will press the division key and let's tab into edit mode. For this, we know what we could do to make our lives a little easier. I can just select these four faces here and then press U and Mark seen. And that will mark a siem all around this in addition to back here. But it doesn't really matter because there is no face back there. So let's hit the a key, you and unwrap. And there we go. That seems to be pretty good. However, I think these little guys should probably turn because I'm going to want the wood grain to go this way. However, it may be a moot point because let's see, Let's hit the division key. Yeah, you can't see those anyway, so that's fine. Alright. How about the fireplace? Let's take a look at that. I'll hit the division key. It's tab into edit mode. And where should we put our seams here? Well, I think I want a seam along here. Let's do that. And maybe all the way around like this. And down here, let's mark seams here. Now, we don't really care about all this, but I don t think I'll delete it because it could help with avoiding light leaks. Once we begin adding lights, I want to keep that thickness there. But let's add, well, let's add edges along here, like this, or seems I should say. And let's add a scene back here. I don't want this edge to have a same. Let me de-select that. And there we go. You and Mark seem. And then I think I may need to add seems along here, right along here. But I think instead of going through that, I'll just select these faces. And once again, I'm fine with having an extra seam there and that's no problem. I mean, we really only need these three, but I went ahead and added that to o and look at this. I should probably add this as well. There we go. And let's get this face and mark those seams. This one. Here we go. Alright, so if we hover over this and press the L key, there is that now it's split because this was mirrored over IC. If we want to split that out now, we just hit you and unwrap and there we go. Okay, so let's now come in here and hover over these and press the L key and then hit U and unwrap. Okay, how about this here we can do that, unwrap that, then all this other stuff we don't really care about, right? So let's just hover over these and select those. I'll select these with the a key and the UV editor and then go up to UV pack islands. Or actually I should maybe average island scale first. Yeah, there we go. And then pack island. There we go. And then maybe I'll turn this one right here. Let's press R1 AT just to get it turned in relation to the others. And then I'll press G x and slide this over. These edges here seem to be a little bit off compared to everything else. I mean, I could take these and just hit G and move them over a bit and move them down like this. Just to get that a little bit straighter. And you can do that. You can just grab points and move them around until they are the way you want them. And now in the press Control, I to select everything else. And then this right here, go to UV select, I'm going to scale it way down and move it out. And then I'll hit the a key over here. Then we can just take this and plop it in there. Once again, we don't really care about it. Alright, let's hit the division key to bring the rest of the fireplace back. We could begin adding the UV material to these. I'll hit the Z key and go-to material preview. And maybe this one we could add that UV test material to that. And this is, well, it's just searched for UV Enter. And there we go. Now I'm seeing a little bit of strangeness here, kind of stretching and it's probably not going to matter since we're going to put a marble texture on there. But you know what? I want to try one thing. I want to come in here and I'm going to select just that piece again. And what I'm gonna do is go to an orthographic view and hit the one key to see where we are. Okay? Now I'm going to press Control one to go to the back orthographic and now we're looking at it directly on. I'm gonna UV map it by pressing U and coming down here to project from view. If I do that, now look at it. It's been projected perpendicular to the object here from the orthographic view. So now lets do is just hit the a key again. I'm going to take this guy and move it out, grab all of these once more. Let's average island scale. Let's pack Islands. And I will turn on rotate and let's spin this guy one more time. R18 0 g x, and I'll slide it over. There we go. Then I'll bring this back in. So I just wanted to clean that up by projecting this from an orthographic view. That can be helpful with this kind of thing sometimes. Alright, How about the base? Let's take a look at that. I'll press Shift H or go back to Solid View. And for this, we really don't need much more than just this face and this face not doing well. Let's go ahead and just select all hit you and smart UV project. And then let's select this face and this face. Then grab all of these, go to UV and tack islands. Now if we come over to the 3D view and press Control, I, here's the rest of it. We'll just take these, shrink them way down. And let's see where we want to put them. Well, we can just put them right here. There we go. Alright, so let's give that the UV material material preview. There we go. Now let's hit the division key. And one last thing, Let's do these pillars here. Now, if I recall, yeah, this has a mirror modifier on it. Let's just UV map one side and then apply a mirror to it after that. So let's hit the X key here. Let's get the division key to isolate this object. And now let's just go through and add some edges right along the corners here. Like this. You end mark seam. And then let's split these out in a couple of different places. Maybe. Maybe right here. And then maybe let's do one here, u and mark seam. And maybe one here too. Let's do one right here. Mark seam, there we go. Now, that's our seams. We don't have anything on the back. Oh, the top. Well, let's just add seems around here. Let's just select that face and mark those seams because we may see something of that. The bottom though, we're never gonna see anything on this. So let's just delete that face there. That might make our lives a little easier. Let's now hit you and unwrap. We can switch from conformal to angle based. Yeah, that looks okay. Let's try that. And then let's try and get these oriented in a similar way. I'll press R 90 and let's press R1 80 and get these kind of in the same line there. And it looks like these here could also turn our 90. There we go. And you know, before we pack these, before we pack them into the 0 to one space, Let's mirror this first. Let's do that. Let's come up here and let's click Add Modifier mirror. And then let's apply this, pull this down and click Apply. Then if we tab into edit mode, we see that all of these UV islands or one right on top of the other, right? So now we can do is we can just pack all of these. I'll hit the a key UV pack islands and there we go. It looks like everything's in the same alignment. I mean, these are upside down, but that doesn't really matter in terms of wood grain. So I think that'll be good. Let's tab into object mode. Let's hit the division key. Let's go into material preview, and let's see if we can add a material to this. There we go. Now we've got our fireplace UV mapped. Let's bring everything else back with Alt H. And alright, so in the next video, we'll continue with the room here. 91. 091 UV Mapping the Walls new: Alright, What else should we UV map here? Well, let's take a look at this wall right here. I'll press Shift H. Let's switch over to solid and let's take a look at this now. I think once again, we want to just isolate this front part because it's really the only thing we care about. So I'll grab the edges on the top, around the sides and on the bottom here too. Let's do that all the way through here. And let's give this a seam. And then kind of feel like I want to do these here and these here. Okay? In addition, we're going to need to split out the window frames in here. So let's select edges all the way around these windows like this. And let's give these seams here and this one as well. Then we should go back and do the same thing here. Let's give these seams all the way around the windows. So we're breaking those inside, those interior parts out on their own so we can lay those down flat as well. Grab these. And then let's split out the window frames on the edges here I'll just Alt, click and shift click on the insides here, like this and this. So we've got these and then these here as well. Okay, now we've got those. So what Let's do is let's see how this works. I'll just hit the a key. Let's hit you and unwrap. So let's try conformal. That might be a little bit better. This part right here, that's gonna be the backside, isn't it? Let's hit G and let's move that out. And then let's take all of these and let's pack islands. And let's see in what way are they oriented here? It looks like this, and this are these pieces here. Let me turn on UVC just so we can see. I'll turn on base modes. So this and this, yeah, that's that area there. So it looks like this is turned 90 degrees. We need to turn this. So I'll turn u v sync off, hit the a key. And now let's grab this right here. That, and we need to turn this. Let's press R9 0 and turn it like that. Now to test it, we could change the test texture on our UV material to that lines image that we used before. Let's see if we, is it in here or stripes, I should say right there it is right there. Let's grab that. And then let's press Z and material preview. Alright, that tells us that all of those lines are going in the right direction, but these are not, these are not okay. So this is good that we did this, right? So these here, I think these need to turn. Let's press are 90, Let's hit Enter and hit G and move these up. So now those are better, That's good, Right? Those are going in the proper direction. Now, these over here, this and this, and this. So all of these I think are problematic. They're going in the wrong direction. So here they are, here. Let's select these are non-zero. Let's see how that looks. Yeah, I think that's going in a better oh, I missed one right here. Let's grab this one. There it is. Our 90. Okay. And it looks like these up here on the top and the bottom should also go in a different direction, shouldn't they should flow around the frame. So let's hit our 90 over here as well. Okay, Now I think that's better. Let's select everything. Let's select all of this here. And then let's pack ions right here. Now I'm going to turn rotate off. There we go. Let's see how we're doing here. Yeah, it looks like now the window frames are flowing around. That's good. And all of this area is going up and down. And of course back here, we just don't care, Right? So, okay, that's good. Let's switch over to the UV test pattern just to see how that looks. Yeah, I think that looks pretty good. Let's bring everything else back with Alt H. And then does that. That's all our walls except for this one. This one's gonna be a little more difficult because of all the windows. Maybe let's go work on this wall over here. And actually this wall is a little bit different as well. So let's take a look at this. In fact, I think what I want to do for this is while we're here, I want to add just an extrusion along here. Let me take a look at our reference images here I'm going to create an image editor and I'm going to click Image open. And let's go to our reference images. And I want to look for that one image that had the fireplace in it. Here it is. Let me press Control and Spacebar. Right out here, right outside the door. We've got a wall with kind of a woodwind scouting here, I think. And then we've got wallpaper. So not only do I want a UV map that wall, I want to add that little extrusion for this wood part here. Alright, control spacebar. Let's take this, let's press Shift H. Now. Where do we want it in here? Actually, I probably need the rest of the room just to tell me where that extrusion is supposed to be. So let's I'm going to press Control R and let's bring this down. And I'm looking at the reference image and looking at the rest of the room here. And I'm thinking maybe something about like this right about there. And then I'm going to split this. I'm going to press Control B and Bevel that like that. That's a little bit bigger like that. Okay, Actually I think I want to take this edge and just hit G2 times and move it up and the Z-axis just a bit like that. Alright, now I want to extrude this. I'm going to take this, this, and this. Let's come back out here. Now is maybe the time where I should isolate this. So I'll tap back into object mode and press Shift. Okay, now I want to extrude this. I'll press E y, and let's just pull this out to vary a little bit like that. And then I need to pull this face out here like this. Alright, so that's gonna be our little bit of wanes coating there on that wall. Alright, now that we've done that, we need to UV map it. So what I think I want to do is take these faces here and these, and maybe I'll take these faces on either side like this. And I'm going to add seems you and Mark scene, and we go. So now we've got seams all the way around except we don't have them right here. Probably going to need them right here. I'm going to press Alt and click you and Mark scene. And back here as well. Okay, so now we've got seems breaking all of that up. Let's then hit the a key, press U and unwrap. So I'm thinking that this is gonna be the backside, right? Because it's all kind of wonky. And this here, Let's select just that area. And let's pack islands. Now. That's okay. And we do have an island margin there, that's good. But the problem I'm seeing is things aren't going the right way. Things aren't going the way that we'd want them to go in terms of alignment. So let's take this face, this face, and this face. And it looks to me like this one right here, just needs to turn to go along like that. Now, I also want them to be the proper direction or all the tops be on top and all the bottoms be on the bottom. So let's just take these real quick and let's turn them are 90. Now let's move this outside of the 0 to one space. I'm just going to move it over here into the work area and hit the period key. And I'm going to turn on UV select, and I'm just going to select this edge right up here. And look at here. That's the one on top. That's good. What about this edge? That's on top? What about this edge that's on top as well? So the way these are aligned is actually good because all of the top edges are on the top of the 3D object over here. Because if I put patterned wallpaper on this and one of them say is flipped, then on that area, the patterned wallpaper will be upside down. So I just need to make sure that all of these are in the proper alignment. Okay? Now, let's go back and let's select everything again. I'll turn off UVs. Select. Here we go. So now I think it's these that I'm interested in, right? What are these? So let's hit the three key and let's take a look at these. So all of these need to be going in a better direction. Don't think. So. Let's take this and let's turn it. And let's move it. So let's gonna be like, so this is the long one here like that. And then this one is going to need to be more up and down. So let's press R9 0. And that's going to be like that, right? So ultimately they are in the 3D view. Kind of like that. Alright, Now what about these right here? Are these aligned properly? No, they are not. So let's do that. Let's press R9 0 energy. And this one too, we should turn that one. Okay, so we've got those. Now let's hit the a key and let's take a look at all of this. What about, What's this here? Oh, these are the edges, I would think. Well, let's see what these are. Let's go to UV select and we'll drag select these. And what are these? Those are those pieces there. And these pieces here. So it looks like these are fine. But these two should turn as well like that. Alright, I'll turn off UV select. Let's hit the a key again. And so now, what about these? What are these? Let's take a look. Oh, those are those, so we need to turn those. Okay. Good. Anything else? I think everything else is in the proper alignment. So let's hit the a key. Turn off UV, select. Let's just select these and let's pack islands. We go I think if we come over here yep. Rotate as unselected, that's good. So all of those should now be in the proper orientation. In fact, let's add that UV test material. Let's switch it to the stripes and let's see how that how that looks. What do we think? It looks like everything is going in the proper direction back here. Once again, we don't care, but it looks like everything is going in the proper direction here. Good. Alright. Go back to our UV test pattern. We can press Alt H. So in the next video, we will continue with our UV mapping. 92. 092 Finishing the Room UV Maps new: Well, in the same way that we combined all the pillars together and then UV map them. I think we're probably going to have to do that with these trellises. I know they're not a trellis, but it's the only thing I can really think of, those little trellises that you put in a garden with vines on it. That's the only thing I can think to call these things. But let's see if we can get all these together in one object. And then all in the same UV map. I'm going to take the walls here behind them and hide those. Let me grab this. Here we go. Let me hide these. Now these are easier to select here. I'll just go through and grab all of this. And these. Alright, and then I'll press Shift H to hide everything else. Okay? So now let's take all of these and combine them into one object with Control J. And then let's tab into edit mode, select everything, and let's press U. And smart UV project. You've got an island margin of 0.01. We'll see how that goes. And we'll click okay, and that's, that's not quite right. Okay, Let's try 0.001. That's a little bit better. Yeah, that's probably a little bit better. I'm going to press Control Spacebar and take a look at this. It's pretty dense. It's true, but I think this might just work. I may use a fork, a resolution for this 4096, but I think that might just work actually. Let me press Control Spacebar again, and let's just add the material, UV test material. Alright, yeah, I think that's probably all we need for those. Let's press Alt H. And now let's head out the door. Let's take the door and the door frame. Yeah, let's press Shift H for that. Now, I haven't yet created a door knob here. We will. It's just gonna be one of those accessories that we're going to add near the end, I think. But for this, Let's tab into edit mode. And I think all we need to do is just select this edge all the way around and mark a seam. We maybe want to select this edge all the way around on the back. I'll press Alt Z so I can see that and grab that edge. And let's do this. And then I think I'll just grab this. And this. And this. I'm just breaking these out. Alt Z. And there we go. Let's mark seams there as well. Here we go. So now with those selected, let's press you unwrap. Let's try angle based. Now let's try conformal. Yeah, that's quite a bit better. I'm going to try a margin of 0.01 for this. There we go. And yeah, I think that'll work just fine. Let's add that UV test material to that. See how it looks. Yeah, now, these are going this way. I think that'll be fine. We want the wood grain to go up and down here, so that's okay. Then for the door frame, I'm going to hit the division key again to isolate this. Let's take a look at this. Well, we don't need faces down here. We know that because these are never gonna be seen down here as well. Delete those. And then I think we can just select this edge, this edge, this edge, and this edge. And let's mark seams here. And then let's just get these corners up in here like this. And like this, you and Mark seem. And then if we select everything, you and unwrap. So let's try angle based. Yeah, that's pretty good. Let's just take this and turn it and drop it right in here, just to make sure they're all going in the same direction. For the wood grain. I'll hit the division key. Give this that UV material. And then let's press Alt H and see where else we need to go. It looks like the last thing we need to do is this wall. And I've put it off until the end because I had a feeling it may be kind of a pain. So let's give it a try Shift H I'll go back to solid. And this, if I recall, is also using a mirror modifier. And that's good because that means we really only have to assign this seems to one side of this and the other one will come along. It's got so much we need to do here. That's a good thing to have that mirror on. So I'm going to grab all of these edges all the way around on the bottom. And the top. Grab this edge, this edge. And then we're going to need to go in and do the windows. So you mark cosine. And now the Windows very similar to the way we did before. We're just going to need to grab these edges all the way around for each of the windows. Kind of a pain. But if we tried to do this with smart UV project, I don t think we'd ever get it clean enough for it to look good. Let's get this one down here. And this one here. I think. Yeah. And then these are automatically being applied on the other side because we have that mirror modifier. This one. Okay, so we've got all of that now. Let's swing around to the back and we gotta get all of these too. This is not the most fun part of creating a scene like this, but it's gotta be done by computers. Still can't really do what we can do in terms of figuring out where seems should go. It's getting close though. It's getting real close. Alright, we've got those now. We've got the outside or the front and the back for each of the windows. Now we need to go through and do the edges or the corners, I should say, of each of the windows like this. Alright, now that we've got those seams, let's press a to select everything you unwrap. And this thing here, that is the back that can move out. And then we can take all of this UV pack islands. And now let's add a material type in UV. And I'll press Z and go to material preview. But let's grab that one with the stripes. Let's do that. See how that works now, I kinda want them all to be going up and down. So let's hit our 90 and turn the whole thing. Now let's take a look. Well, we've got up and down here, That's good. We've got problems in a few of these. So if we just come through here and press the L key for the ones that we think are going in the wrong direction. You can see those there. But we don't really need to do that quite yet because we should probably apply the mirror modifier before we go through the process of packing islands. So let's tap back into object mode. Go to our materials panel, and let's apply the mirror. There we go. Now if we tap back into edit mode, hit the a key. Let's press U and unwrap. Alright, so we know that these, we don't want these, right? We probably don't want this area right in here. So that's that Let's bring this out. Okay. We don't want that, we don't want that and we don't want that. Alright, so those are outside the 0 to one space out here. That's good. So now if we select everything, grab all of this, this is what we want. Let's pack islands. Let's take a look at the rotate here. That doesn't do us a whole lot of good. So let's press are non-zero, turn it all like that. Now let's go through and figure out what we want to do here. Got, once again, all of these which ones are going in the wrong direction while these are now going into a pretty good direction. It looks like all of them are in the right direction. They're not going forward and back. They're flowing around the window frames. That's nice. Yeah, I think we've got everything in place here. So we just need to get these back into the 0 to one space. Now we could hit G and move them in, but let's try pack islands. Once again, Let's do that. Pack island and turn off the rotate. And there we go. Yeah, I think that did it. Alright, we'll switch back to the UV test pattern. We'll press Alt H to bring everything back. Here we go. We now have the whole room UV mapped. So in the next video, we'll begin assigning materials and vertex colors where needed. Before we take it into Substance Painter. 93. 093 Exporting and Baking the Room : Well, since we're gonna be taking all of these objects in as one FBX into Substance Painter, we're going to split them out or differentiate them by material. Now, there is one object. I think this wall is probably going to need vertex cover because we've got wood on the bottom here. And we're going to want wallpaper on the top. So we're going to want a vertex cover there. But for everything else, I think we just are going to want to materials. So if I select the floor and come over here to the materials panel, let's remove the UV test material, create a new material and we'll call this floor. How about this wall here? Let's remove that and call it what we want to have all the walls together in the list. So let's call this wall fireplace. And over here, we can call this wall. Well, how about just wall? There really isn't a feature that would differentiate it from anything else. How about this here? This has the window seat here. So let's take this wall, remove that material and we'll call this wall window seat. This wall over here, we'll call this windows. I mean, I know this one has windows too, but we'll just call this one Windows. We'll call it Wall windows. Alright. How about the fireplace? Let's take a look at this. For the fireplace we probably want well, I'll call this fireplace mantle. Let's do that. And then here we can call this. How about fireplace trim? These we can remove the UV test material and call this fireplace pillars. This is the actual fireplace. And this can be what fireplace base. Let's do that. Alright. We can call this door over here. And each one of these is going to be available to us as a texture set in Substance Painter. I'll get rid of this and call this door frame. Let's do the pillars here. Pillars. We go. Trellis. Let's do that. New material. Trellis. And oh, we've got the window seat here. Call that window seat. And for this out here we can call this wall hallway. There we go. Alright, so we've got our materials on there now, as I said, this one though, we probably need vertex colors for it as well. So let's go to solid view. I'll press Shift H. Let's zoom in with the period key and then Let's come over here and go to our vertex paint. We can tab into edit mode. And let's select this face, this face, and this face. And this will be our wallpaper. So let's tap back into vertex paint, turn on our paint mask. And then over here in our act of tools, we can choose the green in our color palette, let's say, and press Shift K. There we go. And then for everything else, Let's just press Control I. And we can just give it the blue and we can press Shift K and that'll just be the wood. So the wood will extend on into the back as well. That really doesn't matter. So that's all we need for that. And then we press Alt H and we go. Now, I'll go over to the layout tab here. Now that we have everything with a material on it, some vertex paint, all UV mapped. I think we are ready to export this out. I'm gonna go ahead and save the scene and hit the a key. And then what Let's do is just go to File and export FBX. Let's go into our Textures folder. Let's create a new folder in here, and let's call it room. And then in here we will call this FBX room as well. Now let's just select the mesh selected objects because we've selected everything here in the scene. Let's now come over here and click Export. There it goes. Alright, let's go to Substance Painter. Here in substance painter, Let's go to File and New. I'll click Select. And let's go to our Textures folder into the room and room FBX. We'll click Open and then, Okay, and here is our room. Alright, so now what Let's do is let's go about baking our textures for all our objects. I'm going to press Shift and right-click and move the light around just a bit like that. You can see all of our texture sets here. And basically it's just all of the materials that we've created. So let's now come over here to the texture set settings. Go over to the mesh maps and bake mesh maps. Now, if we go over here to the selection tab, we can see all of our texture sets. Now, I don't want all of these to be exactly the same. The things like the door and the door frame, the fireplace, et cetera. Those could all have a texture, say of 2048 and they'd be fine. But for something like the floor, I think that needs to be baked at a higher resolution. And also maybe the trellis and the pillars. Since we have so much on those uv maps, we probably need to bake those out at a higher resolution as well. I think for the trellis, the pillars, and the floor, I'm going to want to bake those at 4096. In addition, that wall in the hallway has vertex colors, but nothing else does. So that's gonna be a little bit different as well. So we've got those four texture sets that are gonna be a little bit different. So for now what I'm going to do is just turn these off the wall in the hallway, trellis pillars floor. Right now. For everything else, we don't need an ID that because all we have is just one color on there, one material. We don't need to deal with an ID map for any of those things. So for all of these, let's go back to the common tab. And here now let's change this to 20484 anti-aliasing. We can probably just put it at two-by-two. I think that'll be fine. Then for these 72 texture maps, we want to go ahead and hit bake. All right, those are all done. Let's click OK. And you can see back here it looks terrible, mainly because the uv maps are all wonky back here and that's okay as long as they look okay upfront. Now let's go back to the bake mesh maps window and let's take care of these other ones. Let's go to this selection tab. And let's just deal with the wall. I'm going to press Alt and click the wall hallway just to select that one. And for this we need to turn on the ID, click on it, and then go over to the wall hallway. Over here. There it is. And switch to vertex color. So we've got the wall hallway, the ID map with the vertex color. We can keep this at 2048 and two-by-two, I think that'll be fine. So now let's just click big selected textures. There we go. So now it's doing that wall back there. Alright, so that's done. Let's now go back to the big mesh maps window. Let's come over here to selection, and let's turn that off. And let's deal with the trellis, the pillars, and the floor. And for this, we don't need an ID map at all. I'll turn that off. And as I mentioned, I want to increase the resolution for each of these here. I'm going to bake these at 4096. So for these three no ID map 4096. And you know what, I may want to increase this to four-by-four just because of the floor. We might be able to use that for the floor. So now we can click Bake selected textures. Alright, it looks like they are all done. We come down here and take a look. I can press shift and right-click and move the light around here. There we go. So now we've got our mesh maps baked for the whole room. In the next video, we'll begin adding our materials to each of the objects. 94. 094 Texturing the Room: Alright, well where should we begin? We can begin just about anywhere we want. I guess, since we're facing toward the fireplace, that's begin with that. So if we go back to our Layers tab, currently we've got the door texture set selected, so that's what we'll be applying materials to if we drag them in currently. So let's switch over to the wall fireplace. So we have that selected. Let's get rid of this. And I will just search for wood. And I've added a few things here from the 3D assets website. We've still got our wood walnut. I think I'm gonna go ahead and try that. Let's just see what happens if we do that. Well, okay, it's not too bad. Let's turn it 90 degrees here. And I'll press Shift and right mouse button and move the light around. And I think the grain is a little too big. Let's take the tiling up to three and that reduces the grain. They're just a bit, so I think that's not too bad. Let's try that. We could do the same thing with just any of these other pieces here. How about we could do the pillars, Let's just drag that in and we can get rid of this. Let's turn this Ninety degrees. There we go. And also let's take the tiling down to three as well on these. So you can see we're just beginning to get the basic materials for the room here. Now, if we wanted to, we could begin adjusting one of these. Let's say we want the wall fireplace to have a little bit more red in it. So if we scroll down here and we open up our color swatch, Let's say we want to maybe move this toward the red, just a little bit like this. Alright, Let's say we wanted that. So what we can do is just take this and right-click and copy. And then if we go back to our pillars here, we can get rid of this and right-click and paste. And now we have that same material in here. So if we find a setting that we like, we can then just copy and paste for the others. So how about the trellis? We can then select this, get rid of that, and right-click and paste. And you can do that. Then we can go through and maybe just do these other walls as well. So this one, I kinda got out of sync here. I'm going to hit the F key. There we go to frame that up again. And for this wall, maybe this is just wall, right? I think that's what we called it. I'll just paste that in and then turn it 90 degrees. Oh, it looks like I just have to type in 0 here to turn that one back around the wall, the window seat wall. Let's take a look at that right here. Let's paste this. And what direction is that going? That's going in the wrong direction. So let's hit 0 and put that there, right. What about this one over here? This is the wall windows. Let's just do that. Paste that in here, turn it 90 degrees by typing in zeros. And then we go there. We've got the walls in the room. I'm just move the light around a bit and there we go. Alright, so how about the door? Let's do the same thing with the door. I'll scroll up. Let's try that. Same material. It's paste that. And we doing here. Yeah, there we go. Now, if you wanted, you could take these panels here and turn them into UV map and have, say, the horizontal panels going horizontally and vertical panels going vertically. That's one thing that you could do. Even these top pieces here, like this piece right here, could go horizontally. So that's something that can be done. Here's the door frame. Let's paste this. That looks pretty good. Alright, so we've got those basic elements in, I guess we should take a look at the fireplace now to let's do that. So if we take a look the fireplace mantle, I'll go ahead and paste that in. That looks okay, but I actually think the wood grain might be better if we took it to two. Yeah, let's do that. And then the pillars, Let's paste this. And maybe I'll take this down to two as well. This fireplace trim. Let's do that. Let's paste that in here. And I'll take that to two as well. There we go. Alright, the fireplace. Let's take a look at this. I have downloaded a marble material. Let's take a look at this. It's a little bit more yellow than the one in the reference image here. Let me bring that reference image over. You can see this is a little bit wider. So I'd like to adjust the color a bit. When we put this on, Let's get rid of that layer and let's take this and drag it over. So that's okay. I think let's try three. Yeah, I like that a little bit better. And then as I said, the color for me, I want it to be a little bit wider, so I'm just going to drag this into the white just a bit. I don't think it's bad to have a little bit of yellow in there, but that's a little closer to what I want. And maybe let's take the tiling up to five and now we begin to see it repeating there. So I don't want that. I think three is probably good. Okay, and the base now, we should probably just copy this switch to the base and then paste that in there. There we go. Now this, we can see the repeats here. So let's take this one down to one. Let's do that. Yeah, that's that's pretty good. Alright. So we have our fireplace and the walls. Is there anything else? Oh, this window seat here. Let's take a look at that. Let's just basically give it the same wood materials. So let's say I'm grabbed this wall windows here. Let's copy it. Go to the window seat and paste. And then let's zoom in and see where we are with this. So it looks like yes. So for me I would have preferred that the wood grain go this way on top and up and down on the bottom part. So for me, I think I have this UV map turned here. So that's something I should keep in mind. There could be a bit of that. But it's really a pretty easy fix because all we have to do is go back to Blender, Select this one object, turn that UV island and then bring just this one object back into Substance Painter and add a material to it. So that's really a pretty easy fix. Alright, How about the floor that the F key it all up. And let's take a look at the floor here. I have gone out and downloaded a couple of wood materials here that I thought might work. I think this one, even though it looks really rough and aged here, might just work for this. So I'll just take this and drag it over into the floor. Now, of course, we have some work to do. Let's first of all turn it 90 degrees because I think I want things to go this way. Second of all, it's increased the tiling here, so I'll take that to five. Let's see about that. Maybe six or seven, Let's see. Let's let's go with that for now. And then there's a lot of this stuff in here that I don't want. So we could try turning off the height. But when we do that, we lose the planks, so that is needed. But if we come down into, say, the technical parameters here, this height range in height position. Let's take the height position down a bit, and then let's take the height range down a bit. That begins to shrink the edges between the planks. And as you can see, if we go all the way to 0, they disappear. So if we just take them to maybe 0.05, maybe let's try that. And for the range, Let's just do the same thing with 0.05 to keep it at that amount. And then what Let's do is work on some of the damage here so we could decrease the dirt decrease the dirt scratched intensity. Let's reduce the wood roughness here. So we get more of a shine. And we've still got these little bitty pockmarks in there. That would be probably the worm hole. Let's take these down quite a bit. There we go. That helps. And then we can begin adjusting our color. And I think I'd like to take the value down here and in here as well. So it's a little bit darker. And maybe even move this into the red just a little bit like that. Alright, that's looking pretty good. It may be a little bit too shiny. We can move that up like that, but the F key. So yeah, I think we're getting there. We can begin to see some repeats here when we zoom out. But keep in mind, we're going to have furniture and area rugs and all kinds of things in here. So I'm not very concerned about the repeats. The last thing we can do, I think for this, is to adjust the plank x and the plank y. And if we take the x and maybe take this down, that increases the length of them, we go. But if we take the y down, that increases the width or decrease it. So I'm going to take the y up just a bit to make them a little bit narrower. There we go. And maybe a little bit more red in here. And for testing we can always just export out one texture set, take it into Blender and see how it looks. In the next video, we'll work on this wall back here and doing any fixes that we think need to be done. 95. 095 Applying Textures to the Room: To work on this back wall here, let's hide a few things first. Let's so this is the wall hallway. So let's just hide everything here except this wall hallway. And let's select it here. Let's get rid of this layer. And let's create a new group here, right? Because we're gonna be using vertex colors. So for one of the groups, let's just call it wood. And for the other group, let's call it wallpaper. For the wallpaper, I'll right-click, choose, Add Mask with color selection, pick color and we'll choose that green. And then let's go find that wallpaper. I, as I said, I downloaded some materials here. This is the one I like the pattern, but we're going to need to change the color. I think. Let's take this and drag it into here and drop it there. Now it's way too big. So let's go to our tiling. Let's type in five. How does that look? Not bad. Let's try a little bit smaller. I'll try seven. Let's do that. Alright, let's see what kinda presets we have for this. If I scroll down here, we've got presets here. Blue, natural urban. How about natural flower wallpaper? Let's try that. Oh, that's interesting. I think now that I have this, this is a little bit too small, so let's change this to five. Alright, okay. I like it. I don't like all the shiny stuff. Let's see. We've got detailed metallic. Let's see what happens if we take the I there we go. That's kinda what I wanted to do is take that down just a little bit so it isn't quite so shiny. I don't want it to attract that much attention out in the out in the hallway there. We've got the height position, maybe I'll take that height down so it isn't bulging out quite so much. Yeah, That makes it a little bit flatter. That's nice. And this right here, I think I'd make a little bit more green. Let me take it up. Like this. Yeah. Least for me, I kind of like that. Alright, so we'll call that our wallpaper here. You can see, once again, if we zoom out, you can see the repeat. But I don't think it's gonna be an issue in that hallway because we aren't going to see a whole lot of it and maybe I'll put a picture on the wall to break it up. So let's turn our attention to the wood now. For the wood, I will once again Add Mask with color selection and I'll pick color, I'll pick that blue. And let's take one of these walls and copy and paste it into here. So maybe I'll just take wall and right-click Copy. Go back to the wall hallway and then paste it into this would group here. Paste. Alright, let's take a look. Well, I think I need to turn it. Let's do that. One thing I see here and kind of like on the window seat, I feel like the wood grain should be going this way up and down on the bottom, but it should be going horizontally along this would railing. I think that would probably be a better way to do it. Now, granted, it's gonna be way out in the hallway. People probably aren't going to really see it much, but I know it's there, so I think I'd like to change that. As I mentioned with the window seat isn't too much of a problem, but we need to prepare some things here before we do that. The main thing is to prepare our smart materials. So when we bring these individual objects back in, we have those materials already pre-made that we can just drag on them and go. So for this, we need to make a hallway would and hallway wallpaper. Let's change the names here. So now we have specific names that we can find in our smart materials. When we come back. Here are smart materials here. Let's take this group and create a smart material. And there it is. Let's take this group and create a smart material for this as well. Here we go. Now we also needed one for that window seat, didn't we? Let's select that. I'll unhide it just so we can see it here it is. And for this, remember, I want to turn that top of the window seat. And we only have a layer here. We don't have a group, so let's create a group. And let's call this window seat. And let's drag this in. Now we don't need to create a mask for it because we don't have any vertex colors on here. So with this now, I can take this group and right-click and create a smart material. And here it is. So we have our hallway materials and our window seat materials. So when we come back, we're gonna be able to use those. Alright, so we can bring everything back if we wanted to. Here. Here's a couple of things. Here. I'll hit the F key. So now let's go back to Blender and work on the window seat in the hallway. Here in Blender, Let's go to the UV Editing tab, and I will select the window seat. I'll press Shift H, hit the period key to tab into edit mode, select everything. And so it is this part right here, this, and this that I feel I need to turn. This was okay down here. So I will select all of these here. Are 90. Enter. Now let's select everything in the 3D view. It a over here. And let's pack islands. Uncheck, rotate. And there we go. So now they should be arranged the way we need him. Alright, let's now go over to the hallway. I'll press Alt H. And here is that hallway Shift H period. For this, Let's tab into edit mode. Hit the a key. So what do we wanna do? We want to turn these here, right? This and this, and this. We want to turn these. So over here, these are the ones we want are 90. Let's take them out of the UV space here. And then with these terms, I'll select everything. I'll hit the a key. I'll press Control Spacebar so we can see it. And then let's just take these and move them into here. Like this. Move this into here. We could also, if we wanted to take this and shrink it down and get it in here if we wanted. It's just kind of hanging out there in no man's land where we can put it right here. Once again, not really necessary, but I kinda like to do it. Alright? Oh, do we need these up here? We should probably get these along here, right? And we should probably turn these along here. I forgot about those. Let's do that. Let's take all of these and turn knees. And let's get these back into the 0 to one space as well. Let's take this one or these two, I should say, Let's move these down here. And let's take all of these and just move them into here. And let's just get this guy out of the way. There we go. Alright. Now I think we've turned all the UV islands that needed to be turned. And in the next video, we'll take these two objects back into Substance Painter and reapply those smart materials. 96. 096 Exporting the Room Textures: Now we need to re-export the objects that we've adjusted. However, I think there's one more thing I want to do. Let me just zoom in to this window seat here. And I don't think that I turned this one here. I turned to this and this. But this one right here is still going this way and I feel like that needs to be going along the same path as these up here. So let me just before we do anything, let me turn this with R9 0 and I'm just going to move it up just out of the UV space here. Then select everything. And now I'm gonna grab this and just move it back in, maybe right there. So now all of these, this, this, and this are all going to be going horizontally here. I think that's more the way I want it. Alright. So now that we have that, what Let's do is take these and export them out again so we can take them into Substance Painter. And I think I can take them in at the same time, we can just select this one and shift click this one. And then we can come up here to File export FBX. And let's put this in our Textures folder. And I will create a new folder. And we can just call this window seat and hallway because that's what it is. And then we can do that same thing down here for the FBX file. And then we select mesh and selected objects because those are the only two we want to take in and we click Export. Now let's go over to Substance Painter. Here in substance painter, Let's go to File and New. And let's click select. And then we go into our Textures folder window seat in hallway here it is. And click Open. And Okay, now we can just rebate these and drop our smart materials on them. So first of all, let's say for the window seat, Let's go over here to the texture set settings and to the mesh maps tab. Big mesh maps. I'll do once again 2048. I do not need the ID map created for this because it's just one material on there. Let's change the anti-aliasing to two-by-two. And then let's click big window seat here. And that'll bake that. So here are all of the textures for the window seat. And then we can go over to the hallway. We still need to bake these, so let's click here. We still got 2048, we've got two-by-two, but this time we need to turn ID on and switch it from material color to vertex color. And then we can click on big wall hallway right here. And then we go. So now what we can do is go back to the Layers panel and we can remove this layer here and in the window seat, I'll remove that one. Now let's come over to the smart materials here and I'll type in window to search for that window seat material. There it is. Let's click and drag and drop. And there it is, there. Now, if we zoom in a bit, we should be able to see that that one little area that we turned here is now going horizontally and that's what we wanted. Yeah, I think I like that a little bit better. Okay, so now the wall over here, we need to drop our smart material on this. If I take the wall hallway here and let's come over to the smart materials and search for hallway. I think that's what I called it yet. And so here we have the wallpaper. I'll just click and drag and drop. And there it is. Here we have the wood, drag it over, drop it in and there we go. And as we were hoping, the extruded part, the railing type area here is going horizontally and that's what we wanted. Alright, so now what we can do is begin exporting our textures. So I'll begin here in this file. Why not? We can come over here to File and Export textures. We've got both the wall hallway and the window seat selected. Let's take it into that Textures folder, window seat and hallway here. And then we'll select that folder. We want our blender export template here will export the size that we get from the texture set. And we'll just click Export. All right, now let's go ahead and save this and I'll put it in that window seat and hallway folder. And I'll go ahead and call that window seat in a hallway here. I'll just select the FBX and then take FBX off at the end. There we go. Alright, so let's open up that other file. I'll go to the recent and select the room. Here we go. So now we need to export everything out of here, but we don't need to do the wall or the window seat. So let's come up here to File and Export textures and we can take away the wall hallway and the window seat so we don't need to do those. We can find a folder to put them in. I'll put them in the textures folder. And under room we can just put them all here. Select Folder, blender, export. And now for the size here, Let's take a look at each of the texture set size. Let me cancel this for just a minute and let's go back and take a look at what did we use large resolutions for? I think the floor, the trellis, and maybe the pillars, I think, right. Let's take a look at the texture set settings for each of these. Let's come back over here to the general properties tab. And here we've got the size. If we change this to 4096. Now let's take a look at the fireplace trim that's still at 2048. So each of these we can come through and choose 4096, whereas these others will stay at 2048. Now we can just use the texture set settings for each of these. In other words, if we go back to export textures here, we can use this based on each texture set size. Now let's de-select window, seat and hallway again. And now we should be able to export these out and they will be at the proper resolutions for each of the texture sets. So let's click Export. Here we go. So if we scroll down to the floor, you can see it's at 4096, so are the pillars and the trellis and everything else is at 2048. So we just have to ensure in the texture set settings what the output is going to be. And then it will pick that up here in the Export window. Alright, in the next video, we will go back into Blender and use the Node Wrangler to quickly add all of these textures to the objects in the room. 97. 097 Applying the Room Textures in Blender: Back here in Blender, Let's begin assigning those textures to the various objects. So I'm here in material preview. Let's just select, Well, I've got the floor selected. Let's select the principle be SDF of that floor material. Press Control Shift T and N are textures. And in our room folder, let's see if we can find the floor here it is for base color and metallic, normal and roughness. And we click principled set up, and there we go. There's our floor. Let's do that hallway. Let's try that. I'll select the material here, that principled BSD F Control Shift T. And in here we need to go back up to that window seat in hallway, right? And here's that wall hallway. These four are what we need. The color metallic, normal and roughness. Click here. There's that. Let's do. While we're there, Let's do the window seat. Let's select that control shift T, select the window seat, textures and click principled setup. And there we go. Now we can just go through the room and begin setting each one of these up. So maybe let's choose the fireplace here. Select that control shift T. Let's go back to that room folder and we can find the fireplace textures right down here. Let's see. Here they are right here, fireplace. These four. There it is. How about the base? We can do that control shift T, fireplace base right here. And we can begin doing the fireplace mantle, the pillars, trim. And this is also why you want to be sure and give everything a good name so you know what it is pretty quickly. Let's do the pillars. Control shift T here, the pillars. And we can do the trellis. Let's do that. Select the principled scroll down here, here it is. These four right here. We can do the wall of the fireplace. Let's do that control shift T, go down to the walls and choose fireplace here. These four. While we're here, let's get the door frame. That's here. And of course the door. We want to get that color metallic, normal and roughness for that. This wall over here is just plain wall, I think, right? That's all we named it. Let's Control Shift T and scroll down to the walls. That's gonna be down here on the bottom. We go. This is the window seat wall. So let's scroll down and find that window seat wall, window seat here. We come over here, this wall, this is the Windows, right wall Windows, Control Shift T wall windows here. There we go. And what else do we need? Well, I think that's about it. Let's bring our furniture back into the scene and see what we think. And click here, bring those back and let's go out to the Layout tab z and material preview. And here we go. Let's press Shift till D, move the mouse and dropped down. And let's move around here and see what we think. Now one thing I'm seeing is some issues on the pillars here. So this pillar looks fairly good until we get down to the bottom here. This one does not look good at all. So we've got some problems here. We need to figure that out with the pillars selected. I'm gonna come back over to the shading tab. And if I scroll in here and look at this, I've chosen the wrong textures here. I've chosen the pillars for the fireplace, Not the pillars for the wall. So let's redo that. Let's come back here. And what I'll do is just drag select all of this and hit Delete. Then let's re-select that principle, the SDF and press Control Shift T again and this time, instead of fireplace, let's come down here to room pillars right here. That might help a little bit. Let's click principled set up. There we go. Okay, now let's go back to the layout tab. Let's come in here, press Shift tilde D, and let's walk over to these pillars again and take a look. Yeah, sure enough. The problem was I just chose the pillars for the fireplace instead of the pillars for the wall. That's easy to do. Once again, it probably would've been better had I given it a more specific name rather than two different things using the word pillars. So keep that in mind and always try and give each thing its own very unique name. Alright, well, we've got our textures into most of the room. We've got the room layout the way we want it. I've got the furniture placed. I think now it's all about adding the details, adding accessories and things on the wall, and vases, and knick-knacks and things like that. Now, I don't think I'm going to have each and every one of those things be on camera. I'll select things that I think might introduce new topics are tools, but I think I'd like to go ahead and fill in the room so we can get to adding our lighting and doing our rendering. So in the next section, I'll pick out a couple of details with the accessories that I think might add some good information. But then after that section, we'll move into the lighting and the rendering. 98. 098 Creating the Rugs: Well, as I mentioned throughout this section, I'll be adding a few more pieces as we go off camera and then coming back and going over any new topics or techniques that I happened to come across. And you can see over here I've created a scene collection called accessories. And we've got candle holders and we've got floor lamp and got a little lockbox here. Let me hit the period key and zoom into that. So I created this little kind of a decorative box or something like that. I've also created a Victrola turntable with a record on it. And all this is pretty low poly. I'm keeping it fairly low poly. I've also created just the logs of the fireplace. And all of this is just using the same tools and techniques that we've done with everything else. I've just done the 3D modeling and UV mapping here in Blender, added vertex colors when necessary, and then taking them into Substance Painter to do the texturing. That is it. But one thing I did want to go over are the rugs and I'd like to put area rugs kind of maybe here where this collection of furniture is and maybe over here for the desk is. So that involves just a slightly different process. So let's just go over that real quick. I'm going to press Shift a and bring in a polygon plane, and I'll bring it up just a smidge until we can see it. Pit the seven key. And I just want to place this right around or under this collection of furniture here, maybe something like that. Maybe SY and make it a little bit longer than it is wide. Maybe something like this. Okay, so I just want a basic shape for that rug. And then what I want to do is first of all, tab into edit mode. And I'll select this edge all the way around here. With all of these edges selected, I'm going to extrude straight down. So I'll press E and Z and pull down just a bit. Oh, it didn't lock to the z-axis, so I'll hit Z again. Here we go. Now it's only going along the z-axis here, so I'll pull it down until it comes into the floor there. And then I want to take all of these edges all the way around here. So I'll just go round and select these. And I'm going to add a bevel to these, so just these here. Oh, and you know what we should do? We should tap into object mode and press Control a and apply the scale. That'll help with the bevel of course. And then let's press Control B and pull this out just a bit like this. And then let's add a few segments to give it more of a rounded edge there. And then we could tap into object mode and smooth it there. Alright, so now we've got the basic shape of the rug. Let's go ahead and press Control a and apply the scale one more time. And then I'm going to, from the top view here, UV map it. So let's come over here to UV editing. I'll hit the seven key, and I think I should probably add a subdivision. I'll just subdivide it once there. Then from here, let's just hit a u. And let's project from view here. Now we'll do is add a material and then go find a texture that we can put on this to make it look like an old antique area rug. So let's come over here, add a new material on call this rug main because I think I do want another one over here under the desk. And then let's come over here. And let's add a new texture here. And the shader editor, I'll press Shift a texture, image, texture, and we can hook it up here. And once we do that, we can come up here and go to Open. And in the textures folder, I've gone ahead and added a folder called rugs. And these are just a couple of rugs that actually I found quite some time ago. You are welcome to use whichever ones you want. But I'll choose this one here. I'll click Open. And now we can see it here in the 3D view with material preview on. Let's come over to this view and pull this menu down and choose this so we can see it here in the UV editor. Then what we need to do is adjust the UV map so it fits the image. So I'll press a to select everything and then I'm just going to hit the S key and scale up a bit like this and you can see it change here in the 3D view. I'll press G and Y in the UV editor and kinda move this up a bit. Then let's scale out in the x-axis like this. And then maybe move it in the x-axis, g and x. So you can see I'm just trying to get the UV map generally in the same shape as the rug here. Now, you may need to drag, select a couple of edges here like this. Keep in mind, we've got several edges here because we beveled all the way around. So you wanna be sure and get all of those. So I'm going to drag select all of that. And then you can just grab this and move it in and out until you can find a place that looks pretty good there, something like that, maybe, maybe right there. And you may need to add some edges to pull in or out. So if I press Control R and added one here, and Control R and say added an edge right here. Then I would have these points here to move in and out. So if we hit the a key, now I can take, say, this point right here. Are these several points because remember there are a few edges there and I can begin kinda pulling this out just a bit to kind of adjust that border there. And same thing over here. I can grab these and move these in and out. They can kind of adjust that as you need it. And I realize, I think I've turned this, so if I hit the a key and press 90, I may want to start going back like this. So it's yeah, So it's more like this. So I have it in the right orientation for the rug in the 3D view here. Yeah, So maybe I shouldn't be doing that way. Let's do that. I think that's going to come out a little bit better now. Yeah, that looks quite a bit better. And then over the edges here, you can see it isn't quite in the right place. So if my select this and let's see if it's this side, this side. So if I hold the Shift key down and move it a bit, I can kind of get it in place like that. Yeah, that looks pretty good there. What about over here? That's not bad. Here we go. Let's do this side. Let's grab these. And you can see there's some white here. So I just grab this, hold the Shift key down and move it in and out. Kind of like that. Let's try that. What about over here, anything over here, any problems? It looks like I could add an edge here and I'll go ahead and add one on the other side as well. And then we can maybe come in here. And maybe right in here, we could pull in or out. You can see that there. There we go. So once again, you can just go through began kinda pulling these in or out to get it the way you want it to look. Alright, now if you want to adjust the color a bit, you can come in here to the shader editor and you can add an RGB curves node and play with the contrast or the brightness. So you can press Shift a and search for RGB and bring in an RGB curve and dropped out here. And then what you can do with just add a node here and add a node here and then begin pulling them into an S curve. And you can see, as you move these around, you can make it a little bit darker, a little bit lighter. You can add a bit of, a bit of contrast to it here by just giving it a little bit of an S curve like that. And you're not going to really be able to see how it's going to look until we get the final lighting in. But I just wanted to go over how it's going to be making the rugs. And I will do this exact same process over here with that other texture. So feel free to add your own rugs of whatever type you like. 99. 099 Modeling the Crown Molding: Now something I'd like to add to the room itself is a crown molding along the top of the walls that then connects with the ceiling. And I'd like it to look kind of like this. Now, I want it to be wood in the same way that the walls are. But for the general design, I think I want to kind of like this kind of sharp edges on top and then a more rounded part in the bottom. So let's see what we can do to create that. First of all, let me hide the accessories and I'll hide the furniture in the fireplace. Um, I'll also hide the floor. I'll just select it and hit H, this wall. We should hit H here and then the door and the door frame. I think that's just about everything we need to hide for this. And then I'm just going to take everything here and move it out into the scene collection. So I'll press M and move this out to here so I can hide and enable this as I need to. I'll hide that and there we go. So now we need to first just create the design of the crown molding. So to do that, I'll hide all this. And then let's begin with just a polygon plane, shift day mesh plane. And I will maybe turn this, let me see which way we're facing. So let me turn it in the y-axis RY and I'll hold the control key down. And you can see up in the upper left-hand corner that the rotation is now being snapped in five degree increments. And I'll just bring this back to 90 degrees. There we go. Now, I'll tab into edit mode and press Control R and add an edge right there. And then I'll take that edge and just pull it out. I can also switch back to Solid mode as well. Alright, so now that we've got this edge, what I'm gonna do is bevel this edge. But then there's a custom part of the Bevel settings screen that we can use to create this crown molding. But before we do that, let me just tab into edit mode and press Control a and apply the scale. It should be pretty good, but I just wanted to do that just in case. So now I'll press Control B and pull this out. And I think I'm going to pull it out until there. It's almost to the top and the bottom here like that. Alright, Now, if we come down here to profile type and choose Custom, we can begin to draw out the shape that we want, but we need to add a few segments here. So I'm going to add, let's just begin with ten here and see how that works. And then as I click here and drag this out and see it changes the shape of our bevel. So we can use this to get that kind of shape that we've been wanting here. So maybe something like this. So it looks like now that the curved part here is on the top. So I'm going to have to work upside down here. Alright, I can do that. Then what I'll do is begin up here. Kind of take these moving in and out like this. And I made need more edges here. So I will come up to the segments and add a few more here. And then maybe I'll take this and bring it down. And then maybe bring this out a bit like this. Let's see how that works. Something like that. Well, that's not too bad actually. That if I tab into object mode, I can maybe go to the front view here. I'll hit Z and go to wireframe so I can see it. And then I can just hit the R key and kinda turn it like this until it's about where I want it to be, something. Maybe like that. Let's try that. So now if I tab into edit mode, and I could take this bottom edge here and hit G and just move this down so it goes straight down like that. And then maybe this one up here, I can hit G and move this so it goes straight up. And then we take these two, and let's just hit E and pull them back in the x-axis. I'll hit X. There we go. There we have the outline of our crown molding. Now we could take it and right-click Shade Smooth. We can come over here to the object data properties and turn on auto smooth. And there we go. We've got a fairly nice curve there. Alright, so let's bring back our room here, everything that's outside of these other collections. Let's take this and put it somewhere and begin extruding it out. So how about we begin? Let's begin over here. Let's begin over here. I will press R z 180 to spin it around. And let's move this over, bring it up, scale it down quite a bit, and let's get it in place. So I'm thinking that it's going to sit right about let me see. Move it over. I think it's going to sit right about up here like this. Maybe a little bit higher, something like that. Let me see. Is that too big? I feel like that's a little too big. Then we scale it down a bit and then bring it down. And let's get it in place. Alright, How about that? Let's take a look. Let's kind of look at it from down here. Yeah, I think that would probably work. I think that's a pretty good scale there. Alright, so now how do we get it all the way around? Well, it's going to take a little work, especially because we have these pillars and this window area and everything. So we're going to have to make a few turns as we extrude it out. So what I'll do here is first of all, go to wireframe and select these points. And then I'm gonna go to the top view. And I will take this and take them all the way down to where we have a pillar. You can see that pillar here. By tumble around. You can see that pillar here. Alright, so I just want to go around the pillar, but to do that, I'm going to have to turn this edge right here while maintaining the width of the crown molding. So if I hit the R key, you can see it kind of collapses like that. So just your standard rotation isn't gonna do it. Well we can use is this shear tool. And if we click that with this edge selected, we can click and drag on, say, this manipulator right here and drag and you can see how it turns it while maintaining the width of the crown molding. And if you look up in the upper left-hand corner again, you can see the units as we move the shear tool here and what we want, if I press the Control key, it will snap to tenths for its increment and we want to bring it out to shear negative 1. And there we go. Now we can take this and move it to just this corner right here, so it's overlapping the pillar here. Now we can extrude this. We can get e x and pull it out to just that corner there, right there. Then we can hit E y and pull it down to this corner. But we're going to have to spend it again. So let's go to the shear tool, grab this, drag it the Control key, and this time we'll take it to 2, right there. Alright, now let's drag it down. So it's right in the corner there. And now we can hit E x. There it is. Then we can bring it and hit E y again to bring it to this other pillar here, E y, bring it down like that. Now we use the shear tool again right here. And I'll drag it this way, hold the Control key, and we go to negative two and bring it right here to this corner, EX, like this, y, like this. And let's do that again. Let's take the shear, drag it, hold the control key down to 0 right there. Bring it over here, put it in that corner. Ex. Here. We go, EY here. So let's just take a look and see what we're doing here. Well, tab back into object mode. So you can see that's what we're doing. That's how we're getting that crown molding to go around each of those pillars. And we'll also do this to go around the corners, all the way around to this area over here. Now, we're gonna go on each side of this, and then we'll bridge the two on either side of the windows here. Alright, so let's continue on over here. I'll hit the Z key. Go to wireframe, select these seven key. Let's go to the shear tool. Now let's drag this, hold the control key down, take it to negative 2, and let's bring it into the corner now, right here. Then we can extrude in the x axis to here. We can take our shear and this time using this gizmo here we can click and drag and take this to negative 2 there. Get it in this corner. You why? X, shear tool, etc. So this is how we're going to do the crown molding all the way around. Now that we're back to the other side of the wall, we're going to use this gizmo again. Click and drag hold the control, go to negative 2 and put this one in place like that. And then EX, Yeah, I think I want to bring this back just a little bit more like this. Yeah, here we go. Ex EY. There we go. Now, I'm gonna go ahead and finish this up all the way around. And in the next video we will UV map it and take it in to Substance Painter. 100. 100 UV Mapping the Crown Molding: Well, I've continued to use the extrude and shear tools to get the crown molding to this point. And we could, if we really wanted to come up here to the top view and use the Rotate tool to turn this a bit. The shear tool isn't really is useful once you get off axis, once you get off of the global axis, yes, you can use this and it can sometimes work, but for this particular instance, the shear tool kind of breaks down once you get it off the global axis. But what we can do is we can just take this edge here and this edge here. And we can bridge them together. We can just press Control E and bridge edge loops. And there we go. Alright, so now that we've got the crown molding all the way around the room. Let's take a look and see if it's pointing the right direction. Let's come up here to the viewport, overlays and turn on face orientation. And the red is on the back, the blue is on the frontier. That's good. So we now know that it's at least oriented in the correct direction, and we don't have to flip normals, That's good. So now I think I will take this, let's call it crown molding here. And I'll take all of these other things, the rest of the room and drag them back into the room collections. So we just have the crown molding here. And let's go to the UV Editing tab and we can get rid of this image here now, we don't need that there. And here is the UVs currently of our crown molding. And you can see that it's really not even close. So let's go ahead and create a new material for this. I'll click New and the materials panel and let's call this also crown molding. Now for UV mapping, we could try and just use our smart UV project and see what happens. Let's give it a shot. I will first of all press Control a and apply the scale here in object mode. And then let's tab into edit mode. Hit the a key, you and smart UV project. And then Okay. And yeah, that's not really what we're looking for, is it? That's not going to give us a good flow for the wood grain along that crown moldings. So I don't think that's going to work. Alright, well let's try something else. Let's actually see what it takes to mark seams for this so we can use our unwrapped tool. So if we go to Edge mode with two key, I can click and drag this and it will select an edge which is pretty handy. Blender didn't use to do this. When you try to select an edge and edge mode like this, it used to select all of these and all of these. So this is pretty good. If we can just go through and go like this, four edges and mark seams, That would be great. And we can go ahead and get these. You and Mark seem we might have a little trouble in here, but we can try. I'm going to press U and mark seam here. In here. We're going to have some trouble selecting these. It's going to want to select those in-between. So I think we will have to use our alt click and all Shift-click for these turns around the pillars, but that shouldn't be too much of a problem. We can Alt click, Alt Shift click here because you and Mark seem there. And then we'll continue on down here. And on around. This one on the corner, we can probably just drag select that. That works out pretty well. But these, once again, they're a little bit too close to each other to do that. So we'll just use our alt click here, here, and on through these as well. Then we can go ahead and maybe grab these two while we're here. You mark scheme. Yeah, that worked out pretty well. And here we can drag, select this one. And here we go. We've got them all marked with seems there. I think that's pretty good. Let's hit the a key. Press U, and we'll choose unwrap. See how it goes. Alright, let's take a look at this. I'm going to press Control and Spacebar. And this actually looks pretty good. It looks like I missed some edges here. And also we need to add an island margin to this. So let's go back and see what I missed here. To figure that out, I'm gonna have to select everything and then come over here and turn on UV sink. And then in here I will select this and this, and let's see where this is. I'll hit the period key. So for some reason these edges aren't accepting the seams and there can be a couple of reasons for that. One could be that I accidentally have an extra extrusion in here. Let's take these points and let's combine them together. We can come up here to mesh, cleanup and merged by distance. So if we do that, we can see here we've removed 88 vertices, which tells me I had some extra extrusions in there. So let's try this again. In fact, what I'll do is hit the a key and let's do this for the whole thing. Clean up, Merge by distance. Now I've got 0, okay, So that I think may help here. Let's try it again. I'll hit the a key you and unwrap. That helped split that up. So what happened, I think is that I had some extra extrusions. And so when I was selecting these seams, I wasn't selecting the hidden extrusion in there. Alright, let's press Control and Spacebar. And I'll turn off UV sink for a moment. And we still need to add an island margin. But we'll do that when we pack islands because I think we're going to need to select all of these and turn these so they're in line with everything else. So I'll press are non-zero and turn them like that. We can select these here and just get these turned. So they're going more in line with the rest of the pieces. Our 90. I'll grab these here and turn these as well. There we go. So now we should be able to hit the a key, come up here to UV and pack islands. And then we can add an island margin. Let's try 0.001. Okay? And then let's also turn off the rotate tool and that gets them all in alignment, alright, control and Spacebar. And I think that's pretty good. I think that's really about all we want out of that. Alright, so in the next video, let's take this into Substance Painter and see if we can add our wood textures to it. 101. 101 Texturing the Crown Molding: Now that we've UV mapped our crown molding, let's go ahead and export it out. Let's go to File export FBX. We will browse to our Textures folder and let's create a new folder in here. We'll call it crown molding. And I'll go ahead and select it and press Control C, so that we can then paste that same thing to the name of the FBX. Let's choose the mesh object type, selected objects, and export FBX. Alright, let's go over to Substance Painter. Here in Substance Painter, we'll go to File and New. And I think I'm going to choose 4096 for this because there's so many pieces and it's such a big piece in the scene. I think I'm going to use a larger texture for this. And I'll click Select. Let's then go into our textures. Here's the crown molding. Let's open that and click. Okay. Alright, now if we tumble around, we can see through the back of it. And that's okay. That just means that's the back of the polygons, which is what we want. But here is our front. I'll move the light a little bit here so we can see it. Then let's go ahead and bake our textures. Let's come over here to the texture set settings and the mesh maps tab. I'll click Bake mesh maps and let's go with 4096. I'll do two-by-two. We don't need an ID map. And let's just click Bake. Alright, let's click Okay, and our maps look pretty good here. Let's go back to the Layers panel and we'll get rid of that layer. And then, you know what let's do? Let's go over to the smart materials here. And there was a wood material in that hallway. Let me search for hallway. And we've got hallway would right here. So if I click and drag and drop that right in there, we don't see anything because it was assigned to a particular color mask. But if we just take this material and pull it out of that group that we assign that mask to. There we go. Now we can just take this group and delete it. And there it goes. Now, how is the size of the wood grain there? I feel like it maybe needs to be a little bit smaller. I'm going to take it up to four. Let's try that. Maybe five. Let's try that. Yeah, I think that may be, although we can kind of see a repeat here in the center. But that's really not too bad. Let me click and drag in here and just see if I can move things around a bit. Yeah, something like that is pretty good. Alright. So I think that'll be just fine. Once again, it's going to be way up near the ceiling here, so I don't think it'll be real prominent. But with that, then I think we're ready to just export this out. Before I do, I'm going to go ahead and press Control S and save this. And let's put it in our Textures folder, crown molding. And I'll just put crown molding here, take away the FBX, and hit Enter there. So now we've got this saved his crown molding. Alright, now we can go to File Export textures. We're going to want to put it in that crown molding folder. So let's go into our textures crown molding. Select that folder. We want our blender export and everything else. I think it'll be fine. So let's just click export, and there it goes. Now we can go back to Blender. Here in Blender under our shading tab, I will select the principle be SDF for the material. And let's press Control Shift T. And let's go to our Textures folder. And here are our texture maps. So let's just select each of these click Setup. And there we go. Alright, let's go over to the layout tab and we can now go to material preview. And let's bring everything else back and see what we think. For the wall back here and the floor, I think I need to press Alt H because I press H to hide them. So there we go. Alright, so now let's drop down here with shift tilde D. And I'll move the mouse and dropped down. And then let's walk around and see what we think. So look up here from this position. It looks pretty good. I think this is this is the kind of thing I was hoping for. Just a nice finish to that top area by the ceiling. I think that'll be nice. And I think I would also like to make a ceiling with those kind of antique ceiling tiles. So we'll have to work on that as well. Well, alright, I think we're coming along. We will continue adding our accessories and trim to the scene. In the next few videos. 102. 102 Using Krita to Texture the Paintings: Well, as you can see, I've been working on some of the paintings in the room here and I thought I'd just go over how I'm doing this because I'm actually using a program that we haven't used yet in this course. And that's Krita. It's a paint program like Adobe Photoshop, but it's open-source and free to use very much like Blender. So what Let's do is let's come over here and work on this one. Right here, this painting. And I'll go over how I'm using created to do this. So first of all, let's come over to the UV Editing tab. And here is the UV map of the painting. I've already applied some seams and UV mapped it. It's got two parts. It's got this part here, which is just a polygon plane. You can see that here. And then it's got this part, which is the frame, right? So it's got two parts combined into one object. So if we hit the a key and select everything and come over here and hit the a key and select everything as well. We can now export this UV map out as say, a PNG file. And then we can take the image file of the UV map and open it up in Krita and place our image textures over the UVs so we know they're going to fit and be in the right place. So to export the UV map out, Let's come up here to UV and go to export UV layout. And here let's go into our Textures folder. I've created a folder called paintings, and here is painting 09. That's the name of the object and the material. This is the image we're going to put onto the painting. But let's call this painting 09. And I'm going to add underscore UVs. So we know what that is. And we should do is change the size. I think for this, I've been using 2048 for each of these. So let's do that. And this fill opacity, I'm going to keep at 0.25 and I'll show you what I mean when we opened it up in Krita. It's a pretty good opacity that you can tell where the UVs are, but still be able to see through them. So I'll go ahead and click export UV. Alright, now let's go over to Krita. Here in Krita, I'll go to File and Open. And in our Textures folder, I'll go into paintings, painting 09, and here are our UVs, so I'll click Open. There they are. Now you can see what I mean by that. Fill opacity just gives us a nice kind of shading. We're still able to see through it, but we can tell where the UVs are. So instead of this layer being called background, Let's change this to UVs. And we go, and I'm also going to lock the layer so I don't accidentally change it because we want these to be exactly where we created them in Blender. Now, let's open up the other things we're going to use for this texture map. Let's go to File and Open, and let's open up this painting image here. Let's do that. And let's also go to File Open. And if we go back into the paintings, we've got this folder called frames. And I'll open this up. And I think I want to use this gilded frames 01, I think I'm going to turn it 90 degrees, but I think this is the one I'm going to use. So I'm going to click Open here. Alright, so we have those two images. Now let's go to our painting here, and I'm going to press Control a to select everything and Control C. And then I'll go back over to this UVs tab. And I'm going to press control V and paste that in. Now I'm gonna come over here to our Transform tool. And I will hover over a corner, press the Shift key, click and drag. And let's reduce the size quite a bit and grab it and move it up here. I'll put it right on that corner right there. And then I'll just grab this and move it. And I kinda stretch it around a bit and pull it out so it fits into that UV Island. Hit the Enter key and then I can scroll the mouse wheel and then hold it and pan. So let's just make sure we got it inside the UVs now, I think I need to move it out just a bit here. So I'm gonna click again. Just take this and pull it out just a little bit like that. Enter now, I can't see the UVs through this, so I'm just going to take this and drag it below the UVs so I can kind of see the UVs through it and make sure that it's at least encompassing those UVs. Yeah, I think that's good. Let's change this name to painting. We go, oh, I was going to pan it. But in blender, pen is middle mouse button shift. But here, middle mouse button shift, rotate the canvas. This happens to me all the time. So Pan in create a is just the middle mouse button. But how to get this back realigned up and down. All you have to do is hit the five key. And there you go. This happens to me all the time because the key navigations are so similar between the two. Alright, let's go over to the frame and let's press Control a and Control C. Go back to the painting tab control V. And I'm going to hover over this click and drag, hold the Shift key and it will snap. There we go. So that's 90 degrees. Now let's drag this down and put it over one corner and maybe I'll drop it right over this corner here and let's zoom in. It looks like I may need to turn it just a bit without snapping something like this. Let's try that. And then I'm gonna put it in this corner. Now I'm going to move it out like this and just try and get it. So it goes over that. And let's get this one down here. Okay. I'm going to scroll down here and let's just grab one of these corners and move it around. And let's see how we're doing on the other corners. That seems to work. That seems to work. I think that'll be okay there. Alright, so we've got that. I'll just hit the Enter key. And then for the rest of it, I think I'll just give it a plain color. So let's first of all change the name of this one, call it frame. And then let's add a new layer here. And I'll drag it down underneath everything and I'll just call this background. Let's do that. There we go. Now, I'll just go to the eyedropper tool. Select a color from this frame somewhere, maybe something like this. And it seems to be a little bit too dark about that. Yeah, that's not bad. Then I'll go to my fill tool here. Make sure the background layer is selected and click anywhere in the frame. And then we go. So that just gives that gold color to everything else in there. Alright, so let's export out a colormap. Now I will turn the UVs off here and then let's go to File. And you know what, I should save this first, let's go to Save As. And I want to change it from a PNG to accretive file accreted document. And I want to change this from UVs and just call it painting 09 dot k IRA. So there we go. There's that. And then I want to export, I want to go to File Export. And this time I do want to export a PNG here. And I also want to give this a new name. I want to call it underscore C, O, L for my colormap and hit Enter. And okay, alright, so now we've got that. The next thing I want is a normal map and we can generate that right out of Krita here. So what I'll do is first of all take this frame and I'll right-click and duplicate the layer and we'll call this normal map. And then I'm gonna hide these Reg here. So basically all we have is just the normal map. Now I'm gonna come up here to filter edge detection, height to normal map. And now we've got a normal map. Let's create one more layer here and drag it below that normal map layer. I'll call this normal background. Here. Let's use our color sampler to grab this color, our fill tool, and click there. So now we have a normal map. Let's now export this file, export. And I'll call this painting underscore NOR. And there we go. Alright, let's go back to Blender. Here in Blender, Let's go over to the shading tab. And here let's add our image textures. So just like we've done before, we select that principled be SDF. But instead of adding a principled setup, we're going to first create an image texture and then add a texture setup. So let's press Shift a texture image texture, and then let's press Control T. And that adds our textures setup here. Alright, so now that we've done that, let's click Open and we'll go find our textures in the paintings folder, painting nine. And here is our Colormap. So let's grab that. And we can take this and drag it into here. There we have it. Let's zoom in a bit. All right, he's looking sufficiently Victorian. That's good. Now let's duplicate this image texture and use it for the normal map. So I'll take this and instead of pressing Shift T, I'll press Control Shift D. And when I do that, that duplicates it but keeps it hooked up to the mapping node. Now if you recall, when we did this before, the Node Wrangler automatically set the color space to non-color. So we're going to need to do that. But first of all, I'll hit the X here. Then I'll click Open back to the textures, paintings 09, and here's the normal map. Let's click Okay, and then change this to non-color. Now we need to create a normal map node here. So I'll press Shift A Search normal and choose normal map. And then we can take this and connect the color to the color and the normal to the normal. And that gives us a little bit of bump information on that frame. Now we could increase it, we can take it up to say five, maybe a little bit too much there. Let's maybe take it down to two. Yeah, I think that'll work. There we go. That's how I'm creating the paintings here in our room. I will keep plugging away on this and I'll come back and highlight any other topics that I think might be interesting. 103. 103 Creating the Bookshelves: Well, I was thinking about putting a few books here on the coffee table, maybe some old books, some antique kind of things. And so I went into Substance Painter and let me just switch over to that. And I searched in the marketplace in this 3D assets and I found not only book covers here, which are pretty cool. We've got antique book covers and a page's material, which is pretty cool. I also found this Victorian bookshelf material here. And I thought, how could we use that? And I remembered that I had said earlier that we might put curtains or drapes along here on either side. And I thought, well, what if we use that Victorian material to put like those little caged bookshelves over here, all with just a material. That's kinda what I'd like to try and do here, see if we can maybe get that to work. So I've been thinking about it and what I'd like to try is to take one of these trellises and move it over and just use the top part of it and then put a cubed down here on the bottom part of this area, then map that Victorian bookcase material onto that cube. So here let me show you what I mean. That's tab into edit mode. And then I'm just going to hit the L key to select all of this and I'm going to press Shift and deselect seem. So we've got that whole thing selected now. So let me press shift D Y and we'll move this over here a bit, like so. And I think look at that, it's going to fit pretty well with three of them right there like that. That's pretty good. So I think what I wanna do, let me hit Z and wireframe. I really want to keep, I'm going to de-select this with the C key for circle select and then middle mouse button click and drag. And I'm going to deselect these. I believe these are the ones I want to keep right there. Oh, and these here. Let's keep these. So I want to keep those. But I think I also want to keep the frame around this. So we have the cube inside a frame here. So let me press the C key again and just de-select. I'm just middle mouse button clicking and dragging and just de-selecting these along here like this. There we go. So now I think I just want to delete all of this. Hit Delete and delete faces. Now let's go back to solid tab back into object mode. And yes, so we just have this kind of frame around here. Okay, So now what Let's do is let's create a cube and put it in here. So let me hide this ceiling here. I'll just hit H. So we can see in here, shift a mesh cube. And then I'm gonna go to wireframe. And I'll take this and move it over here like this. And let's get the one now the three key. Let's see if we can put this in here. I'm just going to hit G and move it in, scale it in the y. And I just want to fit it between those two pieces on either side, they're scaling the z and get it so it fits in between here as well. And then let's go back to solid. And so kinda like that. So let's scale in the x quite a bit here. Something like that. So fits in to that frame just like that. Alright. So I don't know that we need do we need anything else? I mean, we're not seeing any of the sides of it, So maybe we just need that one face here. I'll press Control I and let's delete everything else. So we just have that one base there. Alright, so now I think it's just a matter of taking this UV mapping it and then taking it into Substance Painter. But before I do any of this, let's apply the scale. Let's press Control a and apply the scale. Then let's go back into edit mode, and let's unwrap it you and unwrap. There we go. Okay, so now let's go to File export. Fbx will choose mesh, selected objects. We will go into our Textures folder, and let's create a new folder and call it bookshelf. We go inside here, of course, we want it to be called Bookshelf, the FBX. And there it goes. Alright, in substance painter, Let's go to File New select object. We'll go into our Textures folder, bookshelf. Let's select that FBX. And open that. And then let's tumble around. There it is. Let's see which way our UVs are aligned. Oh good. They're going up and down. That's good. Alright. And then let's go ahead and bake. Our textures are our mesh maps. I'll use 2048. Two-by-two. We don't need an ID map, and let's just click Bake bookshelf. And now let's just go back to the layers panel. Grab this Victorian bookshelf, drag it over and let's see what we did. Okay, not too bad. Let's go to 3D only here. And what Let's do is let's start moving this around a bit. So I think I can take the offset here and move it so it fits onto there a little bit better. Now the only thing I don't like is this little area right here on either side. So let's see if we can make the tiling a little bit bigger. I'll put 1.1. No, that's the wrong way. So let's try 0.9 and move that offset just a little bit like this. Yeah. Okay. The only thing I don't like is the cutoff on the top and the bottom. We could unlock this and for this one, take it back to one. So that brings that back for the top and the bottom. We can also try and move this up and down a bit like this. Let me try 1.1 and then move this a bit. So I'm just trying to get it to fit in here a little bit better. Let's try 1.05. Yeah, that's looking a little better, something like that. Then we need to deal with the color or the material of the woods. So let's scroll down here and let's find, well, we can try black walnut. That's pretty good. This though. We could change this to black walnut too. And that'll get all of that. Yeah, So that might be good. The wood roughness we should probably take down a bit so it has a little bit more of a shine to it. The book colors, I don't mind at all. That's fine. And the gilding, I think let's change this to gold to match the brass. Have other things in the room. Yeah, so that actually looks pretty good and we can adjust the color a bit in Blender once we take it in. Let's give this a try. Let me save this. And in the textures, Let's go into Bookshelf and I'll save this Substance Painter project in there. And then let's export it out. This two we can put in textures bookshelf. We can use our blender export. And then I think we can just hit Export. And here we go. Alright, let's go back to Blender. So here in Blender, Let's go to our shading tab. And down here we can select our principle be SDF press Control Shift T for the Node Wrangler in our textures bookshelf. Let's grab these and we can select principled. I think that's placed and sized pretty well. We just need to deal with the color now. So to do that, we can grab these and maybe move these over just a bit. And let's add an RGB curve here. Shift A Search RGB, and let's choose RGB curves and drop that in. Now what we can do is just click here and put a note in and then maybe pull it down just a little bit to make it a little bit darker. Alright, then let's go to the red curve here and let's do the same thing and maybe bring it down. Now, let's bring it up a little bit to give it a little bit more red. So yeah, begins to blend in with that. Yeah, that actually works pretty well. Alright, so I will duplicate this and put it on the other side, but I think that's gonna be kinda cool. So if we're going to have bookshelves in here, as I said, we're probably going to want a few antique books out here on the coffee table. So in the next video, we'll work on that. 104. 104 Creating Antique Books: Well, now that we have some bookshelves, let's add some books here. I'm going to take this coffee table first of all, and just move it out of the scene collection. I'll hit M and move it here out of that room scene collection into the main collection there. And then let's hide everything else like that. And I'll switch over to solid view. And in fact, we could go ahead and hide that coffee table while we're actually creating the books. I just wanted it there to be able to put the books on once we've done that. So I think what I wanna do is just press Shift a mesh cube, create a cube. And I'm going to scale this down a bit and try and get it in the shape of a book here. Something like that. Maybe let's see. Yeah, maybe let's just bring it down like that. And then what Let's do is begin adding a little more detail. So I think for the pages, I'd like to select these faces here. Press E, s, z, and scale down just a bit like this to create the covers of the book. And then I want to take an edge here and move it out a bit. And an edge over here. That's the wrong one. Let me press Control Z. I don't want that one. I want that one. There we go. Just to pull those out a little bit. And then I went to extrude the men. So let me select these faces here. I'll press E, S, Y, and let's bring those in just a bit there like that. And then grab this and bring those in a bit like that. So we have the pages of the book there. And then these old books have these little ridges along the spine. So let's see if we can duplicate that. I'm going to press Control R. And I'm going to put several edge loops in here and hit Enter. And instead of nine cuts, I'm gonna go up to ten so that we can have five of those ridges. And then if we press the three key for face mode and Alt, select and I'll shift click these five regions. Now if we go to individual origins with the period key right here, when we scale on the Y, they will scale individually. So let's press S Y and bring those in like that. So now we've got a place for those ridges to go on the base there. And I think I'd want another edge in each one of these. So let me just put one in there here. For each of these, I could have done this as I was creating them, but I didn't think of it. That happens all the time. Now that we've got that, I kinda want these edges here to be more rounded. So let's just select this and then Control click that, and then Shift-click this, and then Control click this. So we've just got those edges on the back selected. Before I devil these, I should tap into object mode and press Control a and apply the scale. All right, Let's tab back. And then I'll press Control B and pull out here like this. I'll add a few more segments there just to give it a rounded look. Let's try that. Okay? And then for these, I'm going to select, I'm going to hit Control three to come into the side view here, the left orthographic and look at it from the side of the spine and then press Control click to select that shift Control. Shift Control just selecting the center edges here so that I can take these and I'm going to pull these out in the x-axis, just pull them out like this. There we go. And then I'll Bevel these. So Control D bevel these out to about like that. Let's try that. Yeah. So there we've got those ridges on the spine and then let's go ahead and smooth it. Come over here to Object Data Properties turn on auto smooth getting there. But I think I want to drag this auto smooth degree up just a bit to kinda like that, to get this a little bit more rounded. And then for the edges here on either side, I think I'd like to get the, so let me press Control three again. And I believe I want this to here. I'm going to go through and select all of these as well. And for these, I'm going to make them sharp. So I'll press Control E sharp. And there we go. That just defines those a little bit better. Alright, I think that's really all I wanted to do for the book. Let's go to the UV Editing tab and let's try and UV map this. So I guess what I should do is just mark seams here. Let's do that. I'll press Alt click here. See what we selected. Yeah, and then I'll Alt Shift click down here. And we want to go around right here. And over here, right here. Let's mark the seams. And then we're probably going to need to break these out here. I would imagine, so that they can open up. We ought to put seems here, here and right here. Alright, let's try that. So now let's hit the a key and unwrap. And there we go. I think I want to turn it. Let's hit a R9 0. And then we can put it back in or we can just pack islands here. Let's do that. And then uncheck the Rotate setting here and that'll put them there. We have a margin. That's good. Alright, so I think that's our UV map. The next thing we need is vertex colors, right? So let's go back to the Layout tab and let's do that. Let's come up here to vertex color. I'll turn on the mask right here. And then I'll tab into edit mode and let's select this all the pages. And then I'll come over to the act of tools. Let's choose green Shift K, Control I to invert the selection, select the blue shift K. There we go. Now we've got our vertex colors. Okay, so I'm gonna go back to object mode. I'm going to see how big this is. Yeah, that could be a little bit smaller. I'm going to shrink it down like that, maybe about like that. And then we go. And then I'm going to bring it up to the x-axis right here. And then we want to move that origin to 3D cursor that's on the grid there, set origin, origin to 3D cursor. There we go. Alright, so now we've got our book. Let's call it. Instead of QB two, Let's hit the F key and call it book one. And then let's go over to the materials panel. Click New. And this new materials should be called book one as well. Alright, so now what Let's do is take this and let's create three others. Because recall we have four book cover materials in Substance Painter. So let's press shift D x. Move this over. Maybe I'll scale it down a bit. Yeah, that's pretty good there. And we'll call this book to F2 book too. For the material, we now have the same material on two different objects. We want to split that out and duplicate it. So let's click here. Now we can change this one to book two. Alright. Now let's take this press Shift X and let's maybe I'll make this smaller but fatter, so S, z and I'll kinda make it a little bit bigger like that. Okay, so now we press F2, book three. And over here in the materials, I'll click here, and we'll call this book three as well. And then one more. Let's press Shift dx. I'm going to take it down just a smidge. And then I'm going to make it a lot thinner this time. So S z, take it way down like that. This will be booked for. And the material click here will also be booked for. Alright, there we have our four books. Let's take all of them here. I'm going to go ahead and save the file. Then I'll go to File export FBX. Let's put these in the textures folder. Let's create a new folder. Call it books, and we'll call the FBX books as well. And we'll click Export. Alright, let's go over to Substance Painter. Here in Substance Painter, I'll go to File New. Select. Let's select the books, FBX. Click Okay. And here we go. Now we want to bake our mesh maps. So we'll go over here to the texture sets settings will choose 2048. Two-by-two will keep Id on and we'll change it to vertex color. But keep in mind, we have to do it for each and every one. We could go through each one and change it to vertex color, or we could just click apply to all. And now if we choose one of the others, you can see it's vertex color. Now, all our selections are checked. So we could either choose Bake book one because that's selected and go through and do each individual one. Or we can click big selected textures and get all of them together. So let's do that. Alright, now we can go back to the Layers tab. And here let's create a new group, we'll call it cover. And we'll also create a group called pages. And for the cover we can right-click Add Mask with color selection and choose that blue. And for the pages we do the same thing, but we choose that green there. Now for book one, let's take our old book here, drag it onto the cover, and then let's take our pages here, drag it over, drop it on the pages, and we can see, now we have them there now we could maybe increased the tiling a little bit. Yeah, there we go. That looks a little bit better like that, I think. Okay. And now what we can do is we could just do the same thing for each one, since each one has the same vertex colors. So let's take the pages first. Let me press Control C. Go to book to press Control V. And there it is. Three. Control V. We've got the pages there, or Control V, and there we go. And that's working because once again, we duplicate it off of that main book and have the same vertex colors for each. Now if we go back to book two, we could actually grab the cover from book one, I'll just right-click and choose Copy and then go to book two. And we can paste that here. And there we go. Now, what we can do is we can take this and delete this material out of here like that. And then we can take that control C, put it into book three, and also put it into book for like that. So now we have our cover here and we can drag this into here. There's book two. We go to book three. Drag this one into book three, cover. There's book for, drag this one into book for cover. And then we have all our books. So now we gotta do is export them out. Let's go to File and Export. Go into textures and books. We want our blender export template, and then we can just click Export. There they go. Now back in Blender, we can come over to the shading tab and we can choose each one and apply our textures. So if I select this book and principled BSD f, control shift T into the books folder. Here is book one. Here it is. Same thing for book three. And we do it again one more time for book, for now, all we have to do is just arrange them on our coffee table. But that is how we can create books using our Substance Painter materials. 105. 105 Using Blender's Physics to Place a Blanket: Well, I've continued to work on the room here. I've taken those books and put them here on the coffee table. And then I've kinda scattered them around the room here just to add a couple of little items of interest. Looks like in local mode here I'll switch to Global. Also, what I've done is over at the desk, I've created a desk lamp and a desk blotter or set. It looks like I probably need to create some papers and pins in here. But I just wanted to get something on the desk. And what I'm thinking about now is adding a blanket, kinda throw blanket that's kinda been tossed over the back of the couch is if someone has been here and they've just kind of thrown that down and walked out. So I've created this polygon plane called it blanket. Let me bring it out here. And then I've taken it into Substance Painter and just added a tartan pled to it. What I'm thinking about doing is using blenders, physics engine to drop this down onto the couch and have it just kind of fold and drape over the couch on its own. So let's see if we can do that. I'm going to hide everything else except just the couch and the floor. I may not need the floor. Let me just hide that for now. And currently, this is just a single face on that polygon plane. And to allow the physics engine to bend and fold this, we're going to need to give it a lot more resolution, a lot more edges. So I'm going to right-click on this, choose sub-divide. And down here, Let's increase the number of cuts. How many did we think we need? Well, maybe we've got ten there. Let me just type in 12. I'm going to do that. Yeah, let's let's go with 12. Let's try that. And now I'm just going to take this and kinda turn it. I'll press RY and kinda turn it like this. And I want to put it over the back of the couch here, something like this, RZ, maybe kinda have it like this. Let's try this. And of course you can readjust this however you want. But what I'm trying to do is just drop it straight down and have gravity kind of collapse it and fold it over the couch. But to do that, we're going to need to turn on the physics engine. So with this blanket selected, I'm gonna come over here to the physics properties. And I'm gonna give this a cloth physics system. So I'm going to click that. And then you can see here, here all the cloth settings. Now, here are the presets and these are pretty handy to begin with. We're going to begin with cotton. And that's pretty much what we have here. But before we drop it, we need to tell blender what it's going to collide with. So we've given this cloth. If I select this couch here, now we can come over here and tell it that we need this to be a collision object. I'm going to click here, and there we go. So now the couch is a collision object and the blanket is a cloth object. We should be able to now come down here, click Play, and it dropped. So after about 80 frames, I hit stop. And this is what we get so far. So what do we think here? Not bad. If you see here, I had already added a collision object to the floor. Here, if we select the floor, you can see I've added a collision object to the floor, so it's kind of draping up onto the floor there, which is kinda nice. Let's try this again. I'm not completely satisfied with this. Let's go back to the beginning of the timeline here and there it is. And now I think I'm going to shrink this down just a little bit like this. So it isn't quite as big. Something like that. I'm going to press Control a and apply the scale. Then I want to move this forward just a little bit so it doesn't drape to the back of the couch quite as much. So let's come down here and once again hit Play and see what happens. That moved a little bit too far to the front, didn't it? So I think what I wanna do is go back to the beginning of the timeline again and I'm going to move it back just a little bit like that. So this is the process. I'm just going to try and figure out at what point here and what angle gives me the best drop onto the couch. So I'll hit play again. And I stopped at this time around 36. And that's not quite what I want either. So I'm gonna have to keep trying. I think what I'm gonna do is tilted just a bit like this. There we go. Let's give it another try. Wu, I kinda like that one. That's kinda nice. So I think I may go with this. And what we can do now is come over to the modifiers panel. And let's add a subdivision surface modifier here. And let's also smooth it. Okay, now what do we think here? It's hovering up above the couch a little bit, I know that and that's not a problem. You can just pull that down. But I think that's okay. I think I kind of like that. So now what we can do is we can take this and we can apply the cloth modifier here in the same way that we would apply any other modifier. So if I pull this down and click Apply. Now I can take the timeline back to 0 and it stays where it is. Now. I'm also going to take the object origin and move it to the geometry. Now if we take this and move it down a bit, Let's see what we can do. Maybe I also want to move it forward some. Now it's going to intersect a bit. And I'm just going to basically grab some points and pull them out. So I'll select that tab into edit mode. And we can just begin pulling points like this. And we can also come in and turn on the proportional editing tool. Let me turn on cage here. And as I said, we can also use that proportional editing tool if we want. We can hit G and Z and pull up a bit like that or pull down. So now it's just a matter of going through and trying to get this to a place that we like. I'm gonna hit the O key and turn off proportional editing. And I want to grab this one here and pull it up. Maybe out like this. And we may want to move some of these into. I'll turn on the proportional editing tool and hit G and y and see if we can bring some of these in. Without going too far. I'll hit the O key and bring that out again. You just may need to go through and figure out what needs to go where which points. Or you can just redo the physics. You can just drop it again and see if you can get a better drop. That'll work too. Alright, I kinda like that the way it's draping over the corner there. Let's see how it looks with the rest of the room. I'm going to go back to Solid View. And then I'll bring everything back. And then I'll switch back over to material preview. And let's see what it looks like. Yeah, I think that'll work. That's kind of nice. It just gives it a feeling that somebody lives there, that somebody just through that down and walked out of the room or something. Alright, We're getting close. I think there are just a couple more things to do before we begin working on lighting the scene. 106. 106 Modeling the Leaded Glass Windows: Well, let's take a look at the windows now how we might create those. I think let me zoom in here. And I think what we're going to need to do is basically create three panels of the leaded frames for the glass. And then we'll duplicate those for all of these. And then we're going to have to have an object for the glass as well that we can apply a separate material too. So let's go back to Solid mode. And I'm going to take this wall here, this window wall, and hit the End key and move it out into the scene collection. And then I'll hide everything else. Then let's find one of these windows that we want to begin with. So maybe this one here. I'll just Alt click between two faces to select that. And that's where that window is gonna go down. Press Shift S to, to move the cursor there. And then let's press Shift a mesh plane. Let's turn this. Let's try RX 90. And let's just make sure that that's pointing the correct direction. I'll come over here and turn on face orientation and yeah, that's the blue side, that's good. And then we just need to scale it down to fit. So I'll go to wireframe here, and I'll just scale it down until we get it about the right width, about like that, just so it's inside that little frame there and then scale it in the z. And there we go. So there's that first one. Let's now create the other ones. So for this one, I'm going to do the same thing and then duplicate and move it. So let's just Alt click here Shift S two. And then I'm going to take this one Shift D to duplicate, and then I'm going to press Shift to snap it to the cursor. And then we can take this and scale it down in the z and get it inside this frame here. So same thing over here one more time. And we're going to have to be doing this quite a lot for all of these. But let's grab this shift us to select this one, Shift D Enter, and then Shift S eight to snap it to the 3D cursor. And then let's scale this one down just a little bit like that. There we go. Okay, so now we've got our three main window panes in for all of this. Now what I wanna do is create those frames for those interior frames or panels, I should say. So what I'll do first of all, to keep this, I'm going to press Shift D and Enter. And I will give this a name. So I'm going to call this window one glass. And I will call this one. This one is window, one frame, right? So we have two here. I'm going to hide the glass. And then for the frame, I'm going to tab into edit mode and press Control R. Put two cuts here, and then I'll put two cuts here. And then with these edges here, I can select them and we can bevel them. Now, of course, I need to tab into edit mode or press Control and apply the scale. But then I can press Control B and move this out a bit. And click and let's try, let's see, Let's try 0.01. I feel like that's a little bit too much. Let me try 0.008. Yeah, let's try that. So 0.008 looks pretty good to me. And then what I'm gonna do is deselect this one and extrude this out. So I'm going to hit E, pull them out. So they are about to that point right there. Maybe come out to the edge, just almost to the edge there, something like that. Then I want to go through and delete all of these like this. And delete faces. Okay, So now I've got the frame and here is the glass, right? And I could take that glass if I wanted, and I can move it up just a bit, something like that. So it intersects with those. There. We've got the window frame and the window glass altogether. Now, ultimately, I think I want to take this and combine it together. But before I joined them together, I'm gonna go ahead and give them their individual materials. I'm going to give this a material of window glass and give this a material of window frame like that. And then when we combine the two control J, we've got two materials here. Right? Now, that's all one piece. We can duplicate that and move it around here to each of the others. So let me tab into edit mode here, shift S2. And then I can take this and press shift D, Enter Shift S eight. There we go. So now we can just duplicate and add those to each of the others. So if we take this one, Let's just take a look at this one real quick. Let's give this a name. I'll call it window to, and we want to call this, let's call this window to frame. And then let's duplicate this shift D Enter. And this one will be called window to glass. Right? Let's go to the frame. I'll hide the glass. Press Control Arne add two edges. Like that. Let's select those edges now. I need to apply the scale right in object mode. Then press Control, be pulled out. And then we typed in, what do we type in 0.008 here? I think so. Now we can take this and extrude this out just a bit. So it comes out to just before goes over that edge. And we want to get rid of all of these like that. And now if we bring back our glass and there we go. Now we can just assign the materials to this. So with this, we want it to be window glass or window frame, I should say. And we go for the glass, we want it to be window glass. There we go. Now we can take these to join them together. And they have are two materials there, right? And from here we can begin duplicating all of these. I just need to go and do this one as well. And then duplicate. And also I need to actually come over here and create one here and duplicate those. So we just need a frame and a window glass within the object. And we need the two materials here. And we'll set up those materials for the glass in the lighting stage of our project. And actually that is coming up in the next section, we will work on setting up our lights, our final materials. And also we're going to need to set up something to be seen outside of the windows. In the next section, we will begin working on that. 107. 107 Render Settings and Emissive Materials: Alright, I finished up putting the windows in. So now let's turn our attention to the lighting in the scene. And for this project, I want to use the Cycles Render Engine. And I've got it set to use the GPU, the graphics card in my computer to do the rendering. Now if you come over here to Edit and Preferences, you can see that I've got my system Cycles Render settings set to use optics for my NVIDIA RTX 3D graphics card. Now, you could also use cuda, which is an Nvidia rendering API. But I don't believe this is actually for the RTX cards. So if you have a different NVIDIA card, you can use this. Now, if you have a completely other brand of card, you may not see these options here. You may have other options because blender is going to take a look at your graphics card and see what's available for that card. Now, I've personally just done some rendering tests with the scene. I've come in here and turned on optics and done a render. And then I turn this off and turned on cuda and did a render with that. And I've found that personally for my system, the optics just runs quicker. So that's what I'm choosing. Once again, depending on your card, you're going to have different options here. And you may need to do a little googling to see which you should be using. And also, you may need to do a few tests to see which one is going to be quicker. Now I've also found that adding in my CPU, this Intel CPU really doesn't give me any benefit at all. So I'm just turning that off. So this is my particular settings. Yours may differ. Alright, I'm gonna come back and close this now. So we've got cycles, I've got GPU compute. Let's now take a look at what we can see with the rendered viewport shading turned on. So I'll click this. And there we go. We've got black myth. Now if I zoom out, you can see the outside of the room. Mainly because in the world properties here, we've got a gray color and the strength is one. If we take this down to 0, you can see we just have blackout here. But if I take it back to one, we can see a little bit out here. But if we zoom back into the room here, it's all black because the walls and the ceiling and the floor are blocking all the lights. Now we could add a light, it'll come into where the cursor is. We can press Shift S1 to ensure that it's in the center of the grid. And then we can press Shift a, go to light, and let's just drop in a point light temporarily. Alright, so if we bring this up in the z-axis, we can see at least something right in there. We can come over here to the light properties and turn up the power currently it's only at ten watts. So we could turn this up to say, 60 watts. And that gives us a little bit more light. So we can begin to see what's going on in here. And you can see that we're getting shadows, were getting reflections, which is kinda nice. We're getting some nice ambient light bounces around the room. You can grab this point light and drag it around and just take a look at the different areas of the scene if you want. But I think what I'd like to do first here, go ahead and add the practical lights. All the lights that we're going to see in this scene, the lamps, these wall lights over the paintings, the desk lamp, those kind of things. I'd like to get those in first and kinda get those set before we add anything else. And just so when we switch to the rendered viewport shading, we can at least see something in the room. Alright, so I'm gonna go back to Solid mode here. And let's go to, well, I've got the desk lamps selected. Let's hit the period key and go into here. And what I've done is just added a cylinder in here. I'll tab into edit mode and I'll hit the L key. So I've just added this to be the bulb in the desk lamp. And what we can do is we can use an emissive material to simulate a light bulb in here. So let's first create a new material slot over here. And then let's create a new material. And we'll call this, well, we'll call this desk lamp light. And then let's click Assign. And we go. And now we want to come down here to the emission settings down here. So what we just need to do is increase the Emission Strength and change the color. So to do this, let's first of all switch back to the rendered preview. I'm going to tab back to object mode, go to the rendered viewport shading. We can't really see a whole lot here, but what I'm gonna do is change the emission color from black and I'll just drag it up to white here. And then let's change the emission strength from Wanda. Well, let's try ten. And now you can begin to see that it's giving us some light. They're coming out of the desk slam and that's kinda nice. We could try 20, see if that is too much. That may be a little bit too much. Let's just split the difference and try 15 there. Now you can see it's giving us little speckles here. And that often happens when you've got reflections. What we can do for that is come back up to the render properties and we can turn on D noise for both the viewport and the render. And that'll clean that up quite a bit. Alright, so we've got an emissive material on that for the desk lamp. Let's also come up here to the wall lamps and I'll hit the period key to zoom in. Let me switch back to solid and I'll tab into edit mode. And just this cylinder right in here, I'll hit the L key. And once again, let's come over here and add a material. I'll add a material slot. Let's create a new material. Let's call it wall lamp light. And down here in the emission, let's once again take the emission color too, plain white, at least for now. Then let's take the strength up to 15 here, and we'll come up with this selected. Let's click Assign. So we've assigned those to that material. Alright, so now let's zoom out and let's turn on the rendered viewport shading and see what we think. Yeah, so now we've got a light there. I feel like that's a little bit too bright for that. So for the wall lamp, I'm gonna take this back down to ten. So it isn't quite so bright there. So now I can go through each one of these on hit the period key tab into edit mode. Let's hit the L key and select that bulb. And now we can come up and add a material slot, search for that wall lamp light at that, and then click Assign. And there we go. So now we can go through and add that emissive material to each of the lamps over the paintings. So I'll just do one more here. Let's the zoom into that tab, into edit mode, hit the L key. Let's give it a new material slot. Find that wall lamp light, and click Assign. There we go. So I'll need to go through and add that to each of the other wall lamps. And then in the next video, let's work on adding some light bulbs to the lamps over here in the scene as well. 108. 108 Practical Lights and Camera Settings: Well, I've gone ahead and added that emission material, that wall lamp light to each of the wall light. So we're getting some light from those and that's kind of nice. But I'd also like to add some lights to each of these lamps. And I think I need light going both down and up. So let's begin with this one here. And I'm just going to hit the period key and zoom in. And what I'll do while I'm working is just switch over to solid view. And then I'm going to tab into edit mode and think I'm going to select these faces right here, just Alt click between two of the faces. And then I'm going to press Shift S to bring the cursor there. Now, let's press Shift a light and let's bring in a spotlight here. And the spotlights automatically point down. And that's a pretty good way for it to be for this one. So let's come over here to the object data properties for that light. And I'm going to take the spot size and increase it. I don't want it to go. So it's kind of just under that lamp shade, something like that. Let's say. Then in addition, I want one going up. I think what I'll do is just duplicate this shift D Enter and then rotated 180 degrees in either the x or the y. I'll just press RX1 0, and that will turn that upward. Now I think I need to just take the size of the angle down just a bit so it stays within the lamp shade there. Alright, so let's switch back to our rendered viewport shading and just see how that looks. Alright, so we're getting some light down on the table that's not bad. And we're getting some going up as well. Is that enough for the room? Let me take this point light and I'm just going to hide it here. So okay, that's pretty good, but I feel like I want it to be a little bit brighter. And ultimately we're going to add a couple of lights around that aren't the practical lights aren't the ones you're going to be seeing in the scene, but are the lights that are going to light the scene for the cameras, so there'll be out of view. But for this, let's first take that spot that's pointing down. And let's increase it. Let's take it up to 60 watts. Let's try that. And then let's also grab that one that's going up and let's take that up to 60 watts. Is that too much? Well, it feels a little too bright down on the table. I'll bring it down to 40 here on the bottom, and then keep it at 60 on the top. Alright, so now that we've got that, let's go back to Solid View and let's take these, duplicate them and move them over here. So I'll select this one. And we will once again select these faces here on that poll and press shift us to, to get the cursor to that point. Then let's go over here and grab these like that, and let's duplicate these. But before I do, I think I want to change these. Let's call this table lamp and down 0.001 because that's what Blender will call it. And I will take this and copy it and call this table lamp up 0.001. Okay, so now when we duplicate these, Let's select them both. And let's press Shift Enter. We get 002002. So blender increments the name there as we duplicate. Now we can take these since they're still selected and move them over here to 3D cursor. So let's press Shift S and choose selection to cursor or eight, right there. Okay, so now we've got those. Let's see how they look in rendered view. Alright, I think we're getting there, yes. So that gives us a little pool of light along either side of the couch. Now let's take a look at this lamp here. I'll go back to solid and let's now zoom in with the period key tab into edit mode. And I will select these faces right in here and press Shift S to move the cursor. Then let's take these two again here and here. Duplicate them, Shift Enter. Now these are zeros 03. And then let's press shift us to move those to that 3D cursor. Now it looks to me like these can be spread out a little bit more, maybe like that. This one looks okay here. And then let's see what we think about the power of those, the intensity of those. Let's go to rendered preview. And there we go. We've got those lamps. I feel like for this one, that top one here is a little too bright, so I'm going to take that down to 40. And I don't mind the bottom when they're kinda bleeding over onto the chair like that. Uh, kinda like that actually. And I kinda wish these would do that as well. Let me see if I can. Here is the bottom of this one. It really doesn't look like I can take that out too much farther now, does it? Although maybe I can take it out like that. Let's see how that looks. Yeah, that does bleed over onto the couch just a little bit more. So that's 1 12th. I'm going to copy that. And then come over to 001 down. And let's paste that into this spot size. Here. There we go. Alright, so I think that's pretty good at least for now, to get those pools of light in there. Now, before I go any further, what Let's do is let's bring a camera into the scene because ultimately we're always only going to be seeing what's within the camera frame. And I want to bring a camera in before I begin setting up the windows, the other lights, and what's going on outside the window. So let's bring in a camera here first. To do that, I think first of all, going to move that 3D cursor into the center of the scene. Again, shift us one. And then I'll press Shift a and bring in a camera. Here it is. Now if we pull it up, There's our camera. And we can view what the cameras sees by just pressing the 0 key on the numpad and there is what the camera sees. So if I tumble around, we then come out of the camera view. Maybe I'll hide this roof for a minute. While we do this, I'll just hit the H key to get the camera in position. I like to create a couple of extra windows here so I can put the camera view in one of the windows. And one of the things I like to do is just come over here and grab this and move this over and create a kind of a thinner horizontal window here. And then create another window in here. So you've got two windows over here and one here. This is just the way I like to do it. How you wanna do it is completely up to you, but I like to kind of get this arrangement. And then what I can do is change this to say a shader editor. And then I can deal with the materials of both the objects and the world here as I work on the lighting. And then up here, I want to change to the camera view. I'll hit the 0 key here. We've got a lot of things in the frame here. It isn't bad over here in the larger 3D view, but over here I think it can get in the way. So if I just middle mouse button, click and drag and move this top bar over, I can turn this off the show gizmos and that turns those off. And then I can turn the show overlays off. And then finally, I can get rid of these by just pressing the t key. So now we've got a very clean interface over here. Another thing we can do is make this frame around the camera view a little bit darker. So with the cameras selected, we can come over to the object data properties. And down here under view-port display, we can adjust this particular setting. And I'm going to attempt to pronounce it. Passe par to. That is probably a horrendous pronunciation of it. But you can take this and click and drag up and you can see it makes that area around the camera frame a little darker. I think that's kinda nice to concentrate on the camera view. Now, there's a couple of ways we can get this camera view to where we want it to be. I could come down here and put this view down here where I want it to be, right. And then I can press Control Alt numpad 0, and it will bring the camera to approximately that view. Now if I tumble in this view, it'll tumble out of the camera view. But what I can do is lock the camera view and the view port view together. And I can do that in just one of these views. I don't have to do it in all of them. So over here in this smaller view, I'm going to press the N key. Go to View. And I'm going to choose to lock the camera to the view. Here. I hit the End key. You can see over here, if I tumble around, I can tumble around outside of the camera, but in here, I can only tumble around with the camera. I think this really helps place the camera where you want it to be. In addition, I don't want the camera to be a 50 millimeter lens. That's kind of a normal view. I think I want it a little bit wider than that. So maybe I'll type in Thirty-five millimeters here and let's see how that looks. That's not bad. Although maybe a little bit wider. I'm going to type in 30. Let's see how that works. Yeah, I kinda like that for our view over here. Alright, so now that we have our viewport here, our shader editor down here, I think in the next video, let's work on creating the glass material and what's outside the room as well. 109. 109 Creating the Window Glass Material: Alright, now let's work on the glass, on the windows. And one thing that you kinda have to remember about glass will actually, I guess two things you have to remember about glass is. One, it's always good to have something to reflect when you're creating a glass material. And it's also good to have something that you can see through the glass on the other side as well. So let's create that thing on the other side. And I think I'm just going to use a backdrop with an image on it. And that's gonna be it because I like the pools of light that we're getting here with the lighting as it is. And I think to continue to get that, we're really going to need this to be a nighttime scene, so we're not going to see a whole lot outside. It's gonna be kinda dark. But I do feel like we need something out there. So to do that, I'm going to press Shift a mesh and create a cylinder. And I will take away the cap fills here. I'll choose nothing. And then let's take this and bring it out over here. Let's remove half of it. So here in the right orthographic view, I will take this and just select one side like this and delete faces. And then now I think I just want to maybe, well, first of all, I'll scale it up quite a bit. And then I may take it out in the x axis a bit like this. And then I don't know that we need it quite that curved. Maybe I can scale it in the y just a little bit like that. Okay, so that is going to be our backdrop back there. So now we just need to put an image on it. And to do that, let's go over to first of all, our UV Editing tab. Let's do that. And then I'll switch over to solid view. And let's choose this thing right over here. And maybe I will hide everything else. So let me twirl the windows up. And so this is our backdrop. I'll go ahead and call it that backdrop, 0.001 because we're going to have another one over here. And we should probably do something with these practical lights. I did change the floor lamp to floor lamp, and the others are still table lamp. Let's select them and let's move them into a new collection or press the M key and choose new collection. Let's call these practical lights. There we go. Okay, so we control that up. Here's the backdrop. Let's hide everything else. We also have the camera out here. I guess we don't need the camera immediately, so I'm going to hide all of that. And then let's smooth this. And then let's also press Control a and apply the scale right now until we see exactly where the image is gonna go on it. And then let's create a new material. I'll come up here, click New. And let's call this, well, once again, backdrop zeros 01. And for this, I think we're going to need an image texture. So shift a texture, image, texture. There we go. And then let's also press Control T and add the mapping and texture coordinate nodes. And then let's bring in that image. I'll click open. And what I've done is found an image of a Victorian garden and put it in the textures folder here under garden and here it is. I can click here so we can see it. So it's just kind of a nice Victorian garden. I'll click Open Image. And then if we connect our color up to the base color, switch over to material preview. There it is. Now, we've got a problem, right? Let's tab into edit mode. Hit the a key. And the problem is that it's split because we deleted half of the cylinder. Let's now get the UK and unwrap. And then we could take this and press are non-zero. And that looks terrible, right? So I think we could maybe pack Islands. I'll come over here to UV and pack islands. And I'll uncheck rotate. And we've still got some problems here. So what we should do is bring the image into here so we can arrange the UVs on the image. So let's pull this down and I think it's called Garden, Victorian garden. Here it is. Let's select that. And so there's our UV map on the image. So let's click UVs, drag something like these. And then we'll just drag this up until it covers the whole image. And there we go. Now let's see if that's actually the size we want it to be. Let's bring everything else back. Now I think I wanna go back to the layout tab here. And let's take a look through this view right here. I'm going to position the camera so it's looking out the windows a little bit more like that. And I'm going to save it. And then I'm going to switch to rendered preview. And now let's work on the materials for the glass here. So I'm going to come into this window, maybe select one of these and zoom in. Now if we go to the material panel, we can see we've got window glass and window frames. So we want to select window glass. And I'm going to bring in a glass shader, Shift a. And I'm going to search for glass, and here's a glass BSD F right here. So now that we have this glass BSD f, you can see that it's got a green socket here just like this. And I don't really want to use this one for the glass because I want to be able to control the reflections a little more precisely. So if I just delete this and then take this and drag it over to the surface there. Now look, we can see through there now a problem that we may have. And actually I'm gonna take this camera here. Let me switch to wire view. I'm going to take this camera and move it over here closer to the window so we can kind of see through them like this. And then I'll switch back to the rendered view. Now, we've currently got an IOR, which is an index of refraction. And we've got it at 1.45, which is a similar one to, I think ice and glass. And an IOR is something that you can just search on Google for and see a whole list of the IOR of different materials like glass and water and ice and a diamond and things like that. But I think I'm going to take this and try one, just 1. And you can see what it did. It actually pushed the image away, right? If I type 1.45 in here again, it actually magnifies it just a little bit and I don't want that, I just want it to be seen out the window as it is. Alright, so we've got a glass shader. We can see through it, but we don't have any reflections. So what Let's do is let's press Shift a and search for a glossy, the SDF. So we have a glass and a glossy. And then let's combine them with a mix shader, shift a search mix, and let's use a mix shader. So now we can take two shaders and mix them together. Now we're getting kind of a hazy, fuzzy thing there and that might be good. Maybe it's old windows or something, but we can take the roughness of the glossy down all the way. And then if we take the factor here on the mix shader, we can go one way and it's all glass. We can drag it the other side, and it's all reflections. So you can see now the reflections of the room in the Windows. And here let me bring back that ceiling. I'll type over here and search for ceiling and then unhide this right there. There we go. So we cover that. So now I want to combine a mix between the glass being able to see through the glass reflecting what's inside. So I'm just going to drag this until I get something I like here and keep in mind it is going to be a nighttime scene, so it's okay that it's dark out there. So it looks to me like something like 0.6 looks pretty good at this point in time. Now, one of the issues we're going to have is as we put other lights in the scene to illuminate the scene for the camera. We're going to have to fight with where we're going to put them. So they're not reflected in the glass here. If you wanted, you can come over here to the world properties and increase the strength of the world. So we can take the strength up to say three. And it's all of a sudden a lot brighter out there. We can take it down to two. Let's say. I kind of liked it at one though. I think that's gonna be kinda nice with a little more light in here. I think it's gonna be kind of nice to have that a little darker. But also another thing that we could do while we're here is just add a little bit of color. So if we click on the color swatch here and just maybe move this into the blue just a little bit like this. Maybe even bring it up just a little here. Move it a little more into the blue, kinda like there's blue moonlight out there. That might work. We're going to have to adjust this as we go because I'm think I'm going to make these lights in here, these incandescent lights, a little bit more orange. So we have that kind of classic Orange and Teal that you see in the movies a lot. But at least for now, I think that's pretty good. Then what we could do is just take this here and duplicate it, shift dx and then turn it in the z-axis, r, z, 90. And right up here, I'm gonna see if I can bring it right over here and bring it up just a little bit so we just see the top of the trees in here. You know, I'm looking up in here. Let me turn the strength up to three. So yeah, just so we can kinda see the tops of the trees. Right out here. Maybe right there, right in there. Yeah. Alright, so we have our two backdrops in and we may need to move these just a bit when we move the camera around. But I think that'll work pretty well for now. I'll take this down to two. And in the next video, let's work on adding the other lights to eliminate the scene for the camera. 110. 110 Adding Lights to the Scene: Alright, now let's start adding a little more light into the scene. I'm going to overhear in the 3D view, go to the wireframe view, and let's start adding a lighter too. I think first of all, I will of course go over to the rendered viewport shading here. And then let's begin. Well, I've got a point light in here. Let me just turn this on and that's good. But look at that. This is what I meant by we gotta watch out for reflections in the windows here. And there is a, well, a fairly complex way of removing some reflections like this out of reflective surfaces. But it involves render layers and the compositor and really could be a course in and of itself. And I don't think we went to delve into that much complexity at this point in the process, at this point in the course. So what I'm gonna do is try and be a little creative, a little strategic with where we put the light. So I'm going to first of all just delete this point light. I don't want that in there. And actually, now that I look at it, I may want to to add a gray to this window frame here. Let me I don't think we did that. Let's go to the material panel and choose a window frame. Then I'll just use the base color over here. Let me go to material preview. And I think I just want to take this color and just bring it down to a gray. I don't think we need to do too much more than that. Maybe something like that. And you can see here that we're getting a reflection from the HDRI that's in the scene here in the material preview that isn't going to come through in our Cycles render. So that's fine. Let me go back to wireframe now. And let's add a light. Me. I'm gonna go to the top view with the seven key on the numpad and press Shift a and go to light and area light right here and there we go. Now if we take that and we just drag it straight up, you can see it begin to illuminate the scene. And of course you can also see it in the reflection in the windows. So what I'm gonna do is move it up a bit and move it over. At least for this camera angle you can see I can move it around and move it out of the reflections and the window there. And then I will maybe turn it in the y-axis RY and kinda tilted toward coffee table. I think I just want to illuminate this area right in here, pointing down toward the, toward the coffee table. Let me move the camera back a bit here and I'm kinda putting it through the doorway right in there. Okay. So if I maybe go up a bit, maybe I will select that coffee table and zoom in with the period key. So the camera's tumbling around the coffee table. And we go something like this. Alright, so now that area light here, let's take the intensity or the power up. Let's take it up to 100 and see what happens. Alright, well that's not bad, That's a little too much. I'm not getting the pools of light that I wanted there, but you can see that we're getting some nice illumination there. Maybe I'll take this back down to 60 watts here. And I like the amount of light we're getting in the area over the coffee table here. The thing I don't like is this kind of blackness here at the back of the chair. So let's do is let's add a light to take care of that. So I'll press Shift a light and for this one, yeah, I'll use an area light again for this as well. So let's slide that back here. And I'm just going to move it up into this doorway here. Maybe move it in a bit and press RX and tilt it up some so you can see we're already getting a good bit of light back there and I don't want it to outshine the main interests. I still want it to be fairly dark. Our Z and I'm going to tilt it around like this. There we go. That's not bad. I may actually take it down to say five. Let's see how that looks. Well, maybe split the difference at eight. I kinda like that. Now I feel like this area back here is a little bit too dark. I'm going to save the scene with Control S. And then let's come over here. And I feel like this light here should be casting more light on the desk area. And I don't want to just increase the light of the lamp That'll just glare out and be too much and be too harsh. I want a more soft light. So I think what I wanna do is put a spotlight here and kind of just eliminate this area. So let's create a new light here. Let's create a spotlight and drop it in right there. And then I'm going to bring it up, hit the three key on the numpad, and I'm just going to move it maybe over these chairs and then hit the R key and kind of angle it so. Points toward the desk and that main chair. And then what Let's do is let's increase the power. We're at ten watts here. I'm going to take it up to a 100. Let's see how that works. Yeah, so you can see the chair a little bit better now I'm gonna go ahead and save the scene. And let's try 120. Yeah, That's kinda nice. That illuminates that area with the desk a little bit better. But the area behind it with the window seat is still pretty dark. And what we could do for that is actually add a light outside the room shining in. We could add a blue light, like blue moonlight coming in and maybe adding an edge light to this area back here. So let's give that a try. I'll press Shift a light and create another spotlight and let's move that back. And I will just move it right, maybe right into here. Hit the R key and rotate that in. And then let's change the color. I'm gonna give it a bluish color. And then let's increase the power. I'm going to take this up to like 500 and see what happens here. Well, we're not seeing much there. Let me give it just a little more blue. And let's take it up to 1 thousand watts. Do we see anything yet? Not yet. I'm going to try 2 thousand here. And then I'm going to check where it's placed. Maybe I haven't placed in the wrong place here. So let me take this over and then I'm going to increase it again. Alright. So it's really more the placement I think in anything. Yeah. Now you can see it. Okay. So now it's really where I was putting it. I think. Let me turn it just a bit like this. Yeah. Okay. Now that's too much now that we have it in place, that's too much. Let's take it down to 2 thousand. Now we're going to have to keep going down until we Find the right amount. Yeah. So now we're getting a little bit of that blue on that window seat. And I think maybe we want it as well up in here too. So I'm going to take that spotlight and I will duplicate it and bring it over here. So I'm going to hit Shift D, enter G. Bring that over here. I think I want it to point in this way. Let's see, I'm going to hit the one key and maybe move this up a bit. Something like this. Beginning to get some blue over here. It's really a very subtle thing, but I just wanted some kind of color in there. Alright, so we've got the basic lighting in. I think in the next video what we need to do is do some render tests. I think I want to adjust the placement of the backdrop. I don't think I quite like where it is right now. But I think we're getting there, we're getting those pools of light. We may need to illuminate some of the corners a little bit better. But that's really the process is to begin coming in and adding lights to get a sense of what is going to look like through the frame of the camera. 111. 111 Creating Voumetric Lighting: Alright, to adjust that backdrop, I think I'm gonna go back The world properties and maybe take the strength up to three just so I can see out there a little bit better. And then I just wanted to take this. I'm gonna move it back some like it's a little too close. We're not seeing the bottom. I want to I want to see more of the ground here like this, something like that. Let me take it over here. Now I kinda like it over on this side. I'm going to move it back just a little bit more and move it over like that. So yeah. So it just looks like it's kind of a little bit farther out in the distance there. Actually, I think I'm going to move it over here to this side, this corner like this. Pull it up a bit. Yeah, something like that. Okay. So I think that'll work pretty well. I'm going to take this back down two, so it's a little bit darker out there. Actually, I could take it down to one. Yeah, So I think it's gonna be something like that. So it's just a hint of things out there. Now let's just work on a few render tests and see what we think. I'm going to switch back to Solid mode over here because trying to render an image while this is in rendered preview is a little bit taxing on my computer. But if we want to render an image, we can of course go up here to the render menu and choose render image or F2. And if we want to render an animation, we can always go here or press Control F2. So I think what I'm gonna do is just press F2. And here goes the render. Now it's currently rendering at 1920 by 1080, which is what I also have the screen setup here for recording. And you can see up here the elapsed time, the estimated time remaining, although that's moving quickly. And you can see the number of samples here as it works through the render. Alright, so the render is done. It's taken a little bit less than a minute to render this image, which frankly isn't bad with everything we have in here. And I can see that blue light here on the window seat. I can see that blue line up here. And I'm able to see into the corners a little bit better with the bookcases in there, but it's still pretty dark and we can take care of that. But before we do, I think what I'd like to do is try and add a little atmosphere to this currently, it's very crisp and I think I'd like to add a little kind of haze or just atmosphere to it. So we get a little bit more of a sense of depth. And to do that, we can use volumetric lighting. And really all that is is just putting the entire scene in a box, in a volume and then adjusting the settings of that volume. So if you wanted to save this image, you could always come up here to Image, Save As, and save it as a JPEG or a PNG. But I think what I'm gonna do is go ahead and just close it. And I want to set up a volume box around this scene. So what I'm gonna do is just create a cube. And I'll come here to the side view first. I'm just going to hit S and scale it up pretty big. And I'll bring it right into here. And then I'm going to press S and scale it out. So it encompasses everything. So it encompasses everything outside the room and inside. I go to the seven key. And here as well, I want to scale this out. I want to scale it out to this backdrop as well. So maybe something like this. We go and I just want to see how it's going to look with everything encased in it. We may not need to do that. We may be able to just to set it up for the room, but I think I want to see how it's going to look. There we go. So now I've got this volume box encompassing the whole scene. And let's come over here and let's call this just volume. So we know what that is. And then we need to give it a material. So I'll come over here and I'll click New. I'll call this volume. And over here, instead of a principled BSD F, Let's press Shift a and search for volume. And we've got this principled volume right here. So let's add that. And then I'm going to delete the principled BSD F and take this and move it over here like that. Now, let's turn the rendered view on and see if it made any difference. I'm gonna go ahead and save the scene. Alright, So currently we can't see outside the room here, right? Let's come down to our principled volume and let's change the density to 0 and see what happens. Since nothing happens, I think there's something wrong here. Yes. So I've plugged the volume into the surface rather than the volume. So let me take this, drop it into the volume, and there we go. So now we can see outside as if that volume box isn't there. So now let's work on increasing this. Let me take it back up to one just so you can see what it does. That's at density one. So it's like there's this very thick fog in our scene. So let's take it down to 0.1 and see what happens. Okay, well, we've got a little bit less fog and you can see how the lights kinda become these cones here. I don't know if you can see that. This is also the way you would create volumetric lighting to get rays of light coming through blinds or through the trees of a forest. This is how you would do that as well. But I'm not so much using it for that, as much as just getting an atmosphere in the room. So I'm gonna take this down to 0.01. Let's try that. Okay, so now we're getting somewhere now I think this is a little bit better. Feel like there's still a little bit too much back here from that spotlight that we've got on the desk. I'm going to take this down to 0.001 and just see what happens here. Alright, there's not a lot there. So let's try 0.005 and began bringing that back up. Yeah, there's just a little bit there that we can see. Let me do a render and let's see how this looks. I'll hit F2. And I'm going to shrink this down again like this. And one thing I could do to make these go a little bit quicker is reduce the resolution of this. So we get a half size render. Why don't I do that? Let me close this. And then over here in the output settings, let's change this from 100% at 1920 by 1082, 50%. Let's do that. So I'll come over here and switch this back to solid. And then let's try a render again. I'll hit F2. Alright, we can see a little bit of that atmosphere in it, but I feel like we can see it a little bit too much from this spotlight. So I think what I'm gonna do to try and kill two birds with one stone, as it were. I'm going to try and change that spotlight to an area light, which will give us a 180 degree range of light, which might light up the corners a bit and maybe won't give us such a strong volumetric area up here where the light begins. So let me exit out of this. I'm going to take that spotlight. Where is it? No, that's not it. Here it is. That's the one. I'm going to take this spotlight and I'm gonna change it to an area light. So if we come over here to the light properties, you can see it's currently a spot, so I'm just going to change it here to an area and it's pretty small. We can drag the size up just a bit like that. And I'm going to save the scene and then switch over to the rendered viewport shading again. Okay, well that's quite a lot of light. We don't want that and we can see it in the reflection of the window. So that's not working quite the way we'd want it. Let me take this down to maybe 25. And we're still getting a good bit of that atmosphere in there. I don't think we can raise it up any higher to get it out of the window now, we really can't. So I may try and just move it over to the same side of the room that that other area light is on like that. Yeah. We're getting a little too much light over here now. So that didn't quite work. Let me change it back to a spot. There we go. And this time I will from the top view at the R key and move it over toward the desk a bit like that. Alright, I've brought it up to 300 and I'm going to take the size of the spot down a bit as well. Right into there like that. Let's see how that works. Alright, let's try another render and see what it looks like. I'm going to switch this back to solid, then hit F12. And let's see what we think. Now you can see the little fireflies that are being created within the volume under the lights. But it's the D noise settings that's cleaning that up. Yeah. And you know what, I kind of like this this gives kind of a kind of a hazy mood to it. It gives a little bit more of a depth, I think. So. Yeah, let's go with that for now. I will close this and also I want to go back to the world settings. And now that we've got that volume out there, I feel like we can see outside a little bit more and I don't really want to do that. I want to have it be fairly dark out there. So maybe I'll take the strength down to say 0.5 out there. And we could also take that blue down a little bit, so it's a little bit darker. Alright, I'll try it one more time. I'll switch back to solid there and hit F2 here. Let's take a look. There we go. Yeah, I think we're getting there. We've got some nice reflections in the windows. I've maybe made the outside just a tad too dark. I may want to bring that up just a little bit again. But we've got some blue moonlight coming in here. And sum up here, I think I will change the color of the lights here on the wall and in the lamps to be a little bit more orange. So I will do that. And then in the next video we'll see if we can't put on some finishing touches and set up the scene to animate the camera. 112. 112 Render Settings and Light Properties: Well, since the last video, I've added a couple of lights over here. So back in the hallway, I've added a point light here and a point light right over here. And these are set to about ten watts. Yeah, Each of them are ten watts. And that just allows us to have a little bit of light out there in the hallway. But before I click on the render viewport shading here, Let's take a look in the render properties. And over here, under sampling, I've kept these at pretty much the default throughout the project so far. But frankly, they may be a little high. With these de-noise settings turned on. We probably don't need as many samples on either of these. The de-noised system here in Blender 3 and up is really pretty amazing. And unless you're really doing some high-quality rendered images, you don't probably need this many samples. So I'm gonna take these down quite a bit. I'm going to take the viewport samples down to say 64. And I'm going to take the renderer max samples down to say 128. And that should allow us to move around in the rendered view a little bit quicker and also render images out a little quicker as well. And also over here in the output settings, I'm going to change just as we do tests. I'm going to change the resolution from 100% to 50%. So we'll just do half of this 1920 by 1080 resolution. Once again, that'll just help speed things up as we're testing. And also for the frame rate, I'm gonna change this to 24 frames because as we render out an animation of the camera, because I'd like the camera to move around the scene a bit. It's just fewer frames to have to render per second. And it can add up over a long render time. Alright, so now that we've got these setup, I'm gonna come back over here to the render Viewport Shading, and I'll just click here. And here you can see how the point lights are affecting the hallway out there. It's just a little bit of light to give us a sense that there is something outside beyond the room. I might be able to bring those up a little bit brighter, but I think for now that's fine. And I think I'd mentioned before that I'd like the pools of light, the incandescent lights in here to be a little more orange. Incandescent lights are usually around 3200 degrees Kelvin, which to our eyes looks a bit orange. So I think I'd like to change those. So if we come in here, Let's just grab one of the spotlights here and I'll hit the period key. And let's change to Solid View here. And I've got the light settings. If we come over here to the light properties set at 40 watts, that's probably not bad. This is at 60 watts. We probably don't need that different on top than we do on the bottom. So what I'll do is I'll just change this color here. Let's just change it to an orange-ish color. Not too much, but just a little bit. So you can see we've got a bit of a difference between this one and this one here. In fact, what I'll do is I'll just select that one and zoom in with the period key. Okay? So maybe, let's select that again, and maybe it doesn't need to be quite that orange. Now that we're zoomed in, it looks a little bit too much. I'll back it off just a little bit. So we've got a bit of orange in there. And then what we can do is we can select all of these other lights and link them so that when we change one, we change all of them. So I'm just going to then select this light and this, this, and then the two spotlights that we have in the lamp there. And then the last one, select it, I'll choose the one I just altered. Now we can press Control L and we can link object data. We go now all of these have a bit of that orange to them. And actually they're all probably 40 watts now, aren't they? Yeah, that's fine. So now I could come in here and maybe change this color a little bit more like this. Swing it toward the red just a bit. Yeah. So we're getting just a little more orange in those. And I'd like to do that as well for these wall lights, for the ones above the paintings. And for that, let's go over to the material panel because the light coming out of these is because of the actual material, the emission setting of the material itself. So we've got this emission color here. Let's just take that and drag that down into the orange just a bit as well. Yeah, you can begin to see that orange there. And I feel like that's just a little more cozy than having pure white light. But now that I've done that, something that sticks out to me is this floor lamp hit the period key over here. Because I feel like. It should be kind of glowing, have a beige orange glow to it because the light should be coming through it a bit. Whereas these here are actual opaque lampshades. The light only comes out in the bottom and the top. This one here, I think, should have a little bit more of a glow to it. So let's work on that. Let's come up here. And for the object we only have one material. Let's add a new material slot and create a new material in here. And let's call it a floor lamp shade. And then we need to assign these faces to that material. So let's tab into edit mode and hit the L key to select that whole thing. And I will Shift-click seem to turn off seems here. Let's make sure that whole thing is selected. Okay? Now what Let's do is assign that material to those faces right here. And then let's come down to the emission settings on this one as well. And let's change the color. Let's bring that up, right? And you can kinda see it happening over here in the rendered view. If we bring it up to pure white. And that's what we get and that's a little too much. Okay, so let's bring that down a bit and let's also take it into the beige, maybe toward the yellow a bit, a little bit like this, as if it's kind of a linen material that, that is shining through. Maybe I'll bring the Emission Strength down about like this, or the emission color, I should say the value here of the emission color. And then maybe let's change this. They'll swing it into a yellow. That's a little too much. So I'm just trying to find a good color that I think might work. So maybe something like that. Let's do mountain to what we think here. Yeah, that gives us sense that it's just kinda glowing a little bit better that some of the light is passing through there. Alright, And lastly, we probably need this table lamp here, or the desk lamp, I should say, Let's hit the period key and zoom into there. I'll do the same thing over here. And for this, once again, we have well, we have two materials, right? We've got the desk lamp light. That's the one we want. And let's change the color of that. So down here under the emission settings, Let's change that color and let's pull it into the orange as well just a little bit. Yeah, there we go. Alright. So let's see how it looks now. Yeah, I feel like the room just feels a little more cozy with those orange lights. Let me select the camera here. Let's change the camera properties to, well, we've got it at a 30 millimeter lens. Let's try 25, just to open that up just a little bit. Yes. We can see a little more of the room. Yeah. Okay. That's not bad. You know what, let's do this. Let's do a render test. I'm going to press Control S and save the scene. And then with the camera here, and the render settings currently at 128 for the Mac samples and D noises on. Let's now just press F2 and see what happens. Now as we do this, you can see it says updating images, loading window, room, pillars, et cetera, loading all of those images from the texture maps. And that can take awhile. And I'll show you how we can avoid that when we're rendering many frames over an animation. But okay, here's the render. And it looks, I think, pretty good. I'm just looking at the color now. I may want to increase the general ambient light from those area lights, but at least for the practical lights that we can see in the frame here, I think those colors look pretty good. So as for those images, let me close this. If we come down here to performance and we twirl this down, Here's this little thing called persistent data. And what that will do. Well, as you can see here, it says keep rendered data around for faster re-renders and animation. And then it says, at the cost of increased memory usage. But this is usually preferable than waiting around to load all of those images, every single frame. So I'm going to turn this on and then I'll save the scene. Press F2. And you can see it's updating images here. But this should be the only time it needs to do that. So now that we've got this done in 13 seconds, let me close this and let's do it again. I'm going to press Control S. I'll hit F12. And let's see what happens. Now look at this. It didn't update the images at all and now we're down to just under four seconds. So that's not bad. Alright, in the next video, since we have a fireplace here, it may not be bad to try and add a little fire in there to make the scene kind of warm and cozy. So we'll work on that next. 113. 113 Creating a Quick Fire Simulation: Alright, well the next thing I'd like to do is maybe try and put a little fire in the fireplace. But before we do that, let's do some clean up here in the outliner. I realize I've got some things hanging out here and it's mainly the light. So I'm gonna go through and press Control and click the various lights we have in the scene here. And then I'm going to press M and new collection. I'll call these lights and we'll click OK. And there we go. So now we've got these in here. We've got the camera and the volume hanging out there, That's fine. So to create a fire in the fireplace, let's maybe select those logs there. Here's the material for the logs, and I'm just going to hit the period key and zoom in here. And then we'll also zoom in down here. And I actually think I want to change this to the material preview here. And over here I think I'll switch to solid view. I'll hit the Z key and go to solid view. And so here's our camera here. And what I'll do is first move the cursor to this. I'll press Shift S two, and then I'm going to create a sphere, shift a mesh UV sphere. And then I'll hit the S key and shrink it down quite a bit. Maybe something like that. And I'm gonna bring it up in here, into the wood here, maybe kinda like this so you can see it just a little bit there and I just want it inside there because that's where the flames are gonna be coming from in there. And we'll be able to hide that So we won't see it in the render. But with that selected here, let me change this name to fire sphere, just so we know what it is. And then with this selected, we're going to go to the very complicated process of going to object, quick effects, and click on quick smoke. There we go. Now, we can come down here and change the smoke style from smoke to fire. And there we have a fire. Now notice it created something extra here called a smoke domain. And you can see that here just kind of a cube that is created around that object. And that's just the area that the flame and the smoke is going to go up in. So if we come down here, actually before I do, I'm going to press Control S and save it. Just because since I'm running video recording this, it can really bogged down my computer if I play it with everything recording and going here. So just to be sure, I'll press Control S, and then I'll hit the play button here. And you can see the fire here. It's not really going through over here, so I'll switch over to solid view here so we can kinda see it in there too. But you can see what it's doing. It's just giving us a fire simulation. It's a little big, right for the fireplace here. So let's go ahead and pause it. Go back to frame one. And just like the physics simulation for the blanket, this to also needs a couple of frames at the beginning to get going. So we need to keep that in mind when we go to render the scene. But here in the smoke domain material, you can see that here we have different properties that we can use to change the color, the emission color, the black body tent, and the temperature. But for now I'm just going to leave it as is and just try and reduce the size. So with our smoke domain selected, let's come over here to the physics properties tab. And in here, we can come down to this, this gas section and ended the buoyancy density and the heat. We can turn these down quite a bit. So maybe let's take these 2.1.1. Let's do that. And then let's take it back to frame one and hit play and see how we're doing here. Yeah, so that's quite a bit better. I think. That's not as big. Now we have some smoke kinda drifting up into the room, but I don't know that that's really going to be a problem in our rendered scene. I don't know that we're gonna be able to see it that well because you can really only see smoke once you shine a light on it. Alright, so let's actually take a look at it in the rendered view. I'm going to press Control S again, and then go over here to the rendered preview. Now let's make sure in our render settings, I've got the Mac samples down to 64 for the viewport. Let's hit Play and see what happens. Yeah, see, that's kinda nice. There we go. Let's try that. That'll give us something to work with in the render. If we want to render without this, all we have to do is just come over here to the smoke domain and hide it there and also hide it in the render. And then it won't come up. If we come back to frame one and hit Play, you can see that we can't see it there at all. So we have some fire in the fireplace now. So in the next video, we'll begin creating keyframes to animate our camera. And we'll talk about how to render out an animated sequence. 114. 114 Setting Up the Scene for Rendering: Now I think we're ready to attempt an animation. And what I mean by animation, I just want to animate the camera. I want to move the camera through the room slowly. And I'd like to build a couple of these shots, kind of slow moving camera moves that we can cut together and kind of give a sense of the whole room. I'm thinking half a dozen shots, maybe some close-up, some wide shots, and then edit those together here in blender to make a final finished single MP4 video file. So to begin with, I've set the camera back over here on this side of the room. I've got in the output settings here, the percent at 50% still I'm going to take this back up to 100s, so we get a two k image, 1920 by 1080. I've got 24 frames per second set here for our frame rate, I'm really only going to do 250 frames here, which is about ten seconds. And I'm going to output a series of image files, 24 images per second, that will then convert to a video file like an MP4. And you may be wondering why would we create so many PNG files when we can just create one MP4 file? Well, it depends on how trustworthy you are. So if you're rendering out, say your ten seconds shot at Five seconds per frame, and it's going to take a couple hours to render. If your computer has a problem, if your program crashes, if you lose power, whatever, you won't be able just to pick up where you left off. If you're rendering out an MP4, a single video file, you're going to have to begin from the beginning and start all over again. Whereas if there's a problem when you're rendering out single image files, if say at frame 140, your computer dies, you can reboot, bring it back, and start the render again with a frame start of say 141. Now you can just keep going without having to go back and redo everything you've already rendered. So as I said, it just depends on how trusting you're willing to be of your computer and your circumstances. I personally am not very trusting. So I have had computers crash on me way too many times to render directly to a video file. And that's why I always render to single images, usually PNGs. And as we're doing that, we need to send it to a particular place on our hard drive. So here in the output, it's currently going to the Temp folder on my C drive. I'm going to change this. I'm going to click here. And I'm going to go into my Project folder here. And I've created a folder called renders. And in here I've created different folders for different shots. I've just created shot 1234 and I can create more. But currently, the one we're gonna be working on is shot number one. So I'm just going to select that folder. Click Accept, and then except again, and that will put that path here. So any frames that we render, we'll go into this folder. So that's good for our output settings. Let's go over to the render properties here. Now recall, we've taken this down to 128 samples. I think that's what I'm going to try to begin with, rendering out at 128, but with de-noise on because really you can't really render at that low of samples without de-noising it. If we didn't have the noise, we'd have to be up like four K or something, but with de-noise on, we might be able to get away with it. And in getting away with it, I mean, having a lot quicker render time. In other words, rendering a single frame in three seconds as opposed to three minutes. So this could help a lot. And also recall we turned on persistent data underperformance. So this is going to help in that we're only going to have to load all of those image textures one time at the beginning of the render, and then every subsequent frame will go a lot quicker. So I'm thinking right now to begin with the camera here and then move it to the left just a bit very slowly, just to get a sense of kinda moving through the room. So if we want to create a keyframe here for the camera, we need to first select the camera. So let's come over here and choose camera. Oh, and also, since we're pointing away from the fireplace, I've put the fire sphere and the smoke domain in this fire collection. I'm just going to exclude this entire collection. So Blender doesn't try and render that for this particular shot. But if we choose the camera here, we can then press the I key and get the Insert Keyframe Menu. And I think what I'm gonna do is just add the location and rotation for this keyframe. I'll click there and look down here. We now have a keyframe in our timeline. I can then drag this all the way over or click here to go to the end of the timeline here at 250. And I can now move this camera over a bit. Let me just kinda slide it over. And let's say we kinda. Move it over to say right here. So just a very slow simple move there. Once again, I'll press the I key and click location and rotation. So now we've got two keyframes, one here and one here. And if I click and drag this, you can see the camera move there in the view from here to here. And if we play it, if we go to frame one and hit Play, you can see it begins kinda slow and then speeds up just a little bit. And then as it gets towards the end, it's going to slow down a bit there as well. Now, if we wanted to keep it that way, that's fine. The interpolation is ease in and ease out. But what we can also do is maybe select that key frame and then right-click oh, here. Let me move this out of the way over here. And right-click this and we can change our interpolation to linear. I'll just click here. And now if we go back, let's see if that worked. If we go back to frame one and I click Play, it's really hard to tell if it's changed or not. One way we can check is to actually take a look at the graph editor. So I'm gonna come over here and change from the shading editor to the graph editor. Here we go. Now we can actually see the curves happening. And it looks like it's pretty straight here, right? We could press Control Z and undo this. And now you can see I'm going to press the Control key and middle mouse button click and drag to zoom in on this. You can see that curve that's happening here, right? If I come over here and right-click and change to linear. Now it's a straight line, meaning that the rate of change will be constant. It won't ease in and ease out. So if we hit play now, you can see it just moves at a constant speed. Alright, I think that's pretty good for the first one. Let's try this. So I'm going to press Control S. And before I begin rendering, one of the things I like to do is kinda take a look at the performance information of the computer and to see where it's being rendered to what I've done here. Let me just grab the edge of this and I'm gonna move this over. This is what I like to do here when I'm rendering. I do over two screens, so I have two monitors, so I'll put these windows over in the second monitor. But here you can see this is our task manager or Windows Task Manager using the Performance tab here. And since I've got my render properties here set to GPU compute, it's gonna be using the GPU to render. I've also selected that shot one folder down here, so that as each of those individual frames are created, I can see them pop in here and I can kinda see if there's any problems happening. And if there is, I can stop the render, do a fix, and then kick it off again from where we left off. In the next video, what we'll do is we'll go ahead and begin a render, and we'll take a look at our settings here, the images going into the folder, and we'll see how long this is going to take for each frame. 115. 115 Rendering an Animation: Alright, let's give this a try and see if it works. I have found that because I'm running video, I'm recording this. What I did is I came in here back to Edit Preferences, and I am going to turn on the Intel Core CPU as well. I've got cuda turned off for the graphics card for the GPU, but when you turn on the CPU, it turns it on for both. So I still have optics, but I've got both of these turned on. Alright, let's now go back over here and we can see the different parts of the computer here we can take a look at the CPU, the memory, and the GPU. And we'll keep an eye on this as we go. Because sometimes if there's a problem, this can tell us where that problem is. And also recall that we're going to see our images come into this shot one folder under the renders folder. Alright, so let's give this a try. I'm going to come back over here. I'm gonna go ahead and save my scene with Control S. And then to kick off the animation, I'll just press Control F2. And let's see how we do. Now. It's probably going to begin with loading a bunch of images here. Yeah, here we go. But with that persistent data setting on that we looked at in the last video, that should help it go a little quicker in subsequent frames. So we've got about 30 seconds for that first frame. Let's see how long it takes for the second one here, it looks like we've got 16 seconds now, so it's a little bit less. That's good. I'm going to shrink this down some. So we can see the other windows here. And it really looks like to me I need to increase the world brightness outside the window, so I'll do that. But for now, let's let this keep going. So we can see this happening. Here are the frames that are being rendered and you can see them pop into here. Now you can come in and just open one of these up and take a look at it. I bring it over here. You can see there it is. So you can kind of monitor the frames as they're being rendered. I'll close this out. And then over here you can see we've got a GPU that's going up pretty high in here, but we don't see it here. And that's because if we click on here and go to cuda right here. Now we can see what's happening with the graphics card. And that's simply because the API, the cuda, the optics, the Nvidia API wasn't being shown there. And if we select kudo, we can see it going. Now, this assumes that you have the same kind of card I do. You may see different things depending on your graphics card, but just keep in mind, you can pull this down and change what you're viewing on your GPU. In addition, we can come over here to the CPU and take a look at this. And we are getting a lot of CPU activity, a 100% at times look at that. So hopefully that won't be a problem. But if it does, we'll have to deal with that. And we can see the memory here. This is the RAM of the computer. So this is how much is being used in the rendering process. So currently we've got about 16 seconds per frame, which really isn't bad for a Cycles Render. It's only that fast because we have the sampling so low. I'll switch back over to the GPU here and I'll let it go. So I'll go ahead and do a couple of these renders. Move the camera around, keyframe the in and out of each camera moves. So when I'm done with this, I'll need to come down into the timeline, delete those keyframes, and move to another position, and then insert new keyframes to get that new camera movement. So in the next video, we'll begin building up our final video. We'll use blenders, video editing tools to edit these shots together. 116. 116 Using Blender's Video Sequence Editor: Well, I've been doing some rendering. I've rendered six or seven shots so far by just drag this over here, we can see them here. So like shot six, here are the various images. I've got this going. Let me open one of these and bring it over. Here it is. So I've been rendering these kinds of images, just slow moving shots throughout the scene. And what I've been doing is selecting the camera, hitting the a key to select the beginning and end keyframes and then deleting them. And then moving the camera to a new position using the I key to set new start and end keyframes for the camera movement and then rendering again, once again with Control F2. So I've done that seven times now. And now I think I'm ready to bring these into Blender as video clips or as imaged sequences first to see how they look. So to do that, I'd like to bring up a video editing screen layout here. And I don't have a tab for video editing here, but you can come up here to this plus sign right here and click there. And it's gotten video editing. And we can come over here and click on video editing here. And now we have a new video editing tab with a video editing screen layout. We just maybe move this down to here. And now what I wanna do is bring in these image sequences and see how they look. So first of all, let's bring in that image sequence that I just did this shot zeros seven. To do that, I'm going to hover over the timeline or sequence are down here and press Shift a and then go to Image Sequence. Then here in my renders folder, I will browse to that shot seven folder that I've created and here are all of the rendered images. Let me switch over to the thumbnail view here. Now what I need to do is just select them all and bring them in as an image sequence. So I'm just going to hit the a key. And then I'll choose Add Image strip. Now you can see it's placed here on Channel one, beginning wherever that cursor was. Currently, my cursor is at frame one. And now if I hit the Spacebar key, Let's see what happens. There it goes. It's beginning to play, but you can see it's pretty slow. It's only at about 15 frames per second. Now once it caches all those frames, it may play a little bit quicker. So when it begins again, Yeah, we can see it's now up to 2425 frames a second. So here's that shot. Now, I'm not sure that this is going to play as smoothly once we get other shots in here. So let's try that. Let's say I want to bring in another shot right about, right about here, right about here, Let's say. So what I can do is press Shift a image sequence. Let's go back and choose maybe shot six. Let's try that. Here are the frames. I'll hit the a key, click Add Image, Strip. And there it is. So now you've got this one here. So let's just see if I hit play. It's moving pretty slow. So the more we get in here, the more I'm afraid we're not going to really be able to see it play at a real-time speed. So what I'm gonna do is delete these. I'm just going to select these. And then I'm going to convert each of these image sequences into an MP4 video, bring those in and do my editing. So let's try that. First of all, I'll press Shift a image sequence, and this time I'm gonna go to shot 07. Here. I'm going to hit the a key and I'll click Add Image strip. Now, notice that my cursor was way over here, and therefore it was put in at that point. So I can select it, hit the G key and move it back to frame one right here, and then click. Now, the display at the top is showing the seconds and the frames. If you do not want that, you can go to View and turn off show seconds, and then it will only show the frame number. So however you want to use that I tend to like at least until I get everything in. I like to just see the frames. And then once they get everything in and I want to see how long the total video is, then I can switch back and view the seconds. Alright, so to convert this from an image sequence to a video, what I'm going to do is come over here to the output properties window and scroll down and here is our output settings. And what I'm gonna do is change this from a PNG format here to an FFmpeg video. There we go. Now down here under encoding, I want to change the container to an MPEG-4. And the video codec automatically switches to H.264. So this is just the standard video template that I like to use. Now I want to tell it to go to a certain folder. I've already created a folder here for the videos, and you can see that I've already converted the first six image sequences into MPEG-4 video. So I'm going to put number seven in here as well. So I'll click accept. And now we have that path in here. Then what we can do is go back to frame one here. And then I'll press Control F2, and it will render the image sequence as a video. So let's do that Control F2. And there it goes. Now I can take this window and make it so it isn't full screen here. There we go. But you can see it moves almost at real time. It's pretty fast when we're just converting from image sequence to a video. So once we've done that, let's close this window. And I'm gonna go ahead and delete this image sequence here. Now I think I'll change my frames from one to 180. Let's say we want it to be 30 seconds. We can here put 24 times 30 and hit enter. And it will then give us the proper frame amount, which is 720. Come down here, hit the home key. And here is our frame range here. Alright, let's start bringing these in. I'm going to press Shift a. And this time I'm gonna go to movie instead of image sequence. And then let's go into the renders, into the videos. And here I'm going to change the name of this one. I'll right-click and let's change the name to shot 07. There we go. Then I'm going to try just grabbing all of these, pressing the shift key and add movie strip. Alright, we have them all in here, but there are of course too long and I'm gonna begin to edit these down a bit. But if I hit the space bar, you can see it plays at normal speed right out of the gate. Alright, so now that I've got all the videos in here, I can select one, hit the G key and move them around and rearrange them the way I want. So let's say I wanted to begin with this one. Let's try this. I'm just going to hit the G key and move this over here to frame one. And I'll press the G key and move this one. Then I'm just going to find a nice In and Out point. I don't think I want to begin it that close. I want to begin at right around in here. So now I'm going to select this end right here, and then press the G key, and it will then trim that end. Now if you only want to move the clip you select in the center and then press G and move that back to say to frame one. Let's try that. I'm going to move it back to frame one. Hit play. We've got that. Okay. So maybe I go to here, select this and hit G and move it in like that. Which one do I want? Well, maybe this one's kinda nice here to go after that. Let's try it G here. Select it in the center G and move it over here like this. So you can see, we can just begin to rearrange our shots here to get them in the order that we want. So I'm gonna go ahead and do this. And then in the next video, we'll take a look at how to fade a shot in, fade to black, dissolve from one shot to another, and then render out the whole edited video to a single MP4. 117. 117 Animating the Rotating Record Player: Well, I realized after the last video that I hadn't gone through how I animated the turning record player here. So for this particular shot, I animated the camera, moving back away. And at the same time I also animated the turntable or just the record actually rotating at its center point. So I just wanted to go over real quick how I did that. Really all it is, It's two keyframes and a modifier. So I'm just going to bring this over a bit like this, and I'll hit the End key. And you can see over here you've got add modifiers. And this modifier is called cycles. So you can grab this and pull this down. You can go to the Modifiers tab, pull this down and choose cycles. And all I've got is just repeat motion. And for the count, you can see here that 0 equals infinity. So that's really all it is. Let's just delete these keyframes and I'll just repeat it and show you how I did it. So I'm gonna hit the a key and press Delete to remove these keyframes. And then I'm going to come in here and just insert a keyframe for rotation. I'll hit the I key and go to rotation. Then I'm going to move it up, say 30 frames. I played with it a bit. And once you get the keyframe here, you can move it back and forth to slow down or increase the speed. I'm going to set a keyframe to rotate it in the z-axis 360 degrees. So first of all, I'll rotate it our z 360 and enter. And then I'll insert a keyframe for that i and choose rotation. And there we go. Now as we've seen before, when we insert a keyframe here, it's automatically giving us these curved or ease in and out keyframes. And most of the time that's fine, but it's going to begin slowly and then speed up and then slow down before it hits this keyframe. So I want to hit the a key to select everything in here and right-click and choose the linear interpolation. There we go. So now it's straight. Now what I wanna do is use the modifiers and just select this one keyframe right here at the end. Go over to the Modifiers tab, add, modifier, turn onto cycles. And there we go. Now it just repeats throughout infinity there. So if we go back to frame one and hit Play, we can see it's just going to turn while that camera moves back. And that's all I did to create that turning turntable there, that turning record. Now, I do see that the reflections on the image here spin around. Whereas in actuality the reflections wouldn't spin. They'd be in one place while the record turns. But for our purposes here, I think that's going to be just fine. Alright, so in the next video, we will finish up our editing and render out a final video. 118. 118 Adding Transitions and Rendering: To finish up outputting our final video, what I'm gonna do is add a few fade in, fade out, dissolves and things like that to our edited videos. So this is what I've done in terms of rearranging the shots. I'm beginning with shot three and then 25, etc. So let's just take a look at this and see how it looks. So we begin with the turntable because I think I'll be playing music. Then we go to the little lockbox and the fireplace. So I'm just kinda moving the cameras slowly around the scene, kinda building up an impression of the scene before we kinda get this wider view. And then the final view here. So let's begin with the fade in. What I'm gonna do is go back to this clip here, and you can select it in the center or in the front here on the edge. And what I'm gonna do is just come up here to add, or you can press Shift a. And I'm going to add a fade, fade in. Now, once we do that, take a look at what happens here. It actually fades to the Alpha channel to where the video channel is just invisible. So we need some black underneath this, so we fade in from black. So I'm gonna go back to the first frame by pressing Shift and the left arrow key. And then I'll press Shift a choose color. And that drops that color strip right in here. And you have control over what color you want it to be over here, but it just comes in black and I think that's just fine. Though if I hit play. Now. Now you can see it fades in from black. Alright, so the next thing we need to do is deal with our transitions here. And what we wanna do is be able to select these two and then add a crossfade. You can press Shift a and come down here to transition and cross. But the problem is there isn't anything for it to cross. We need to actually overlap these. So there's something for blender to cross-fade from and to. So since our frame rate is 24, frames per second, half of that is 12. And if I want a 1 second crossfade, what I'm going to need to do is extend these two shots by 12 frames. Now, I could do a 2.5th and then that only be six frames per shot extending forward and back here. Why don't we try that when we try a 2.5th cross-fade? Let's do that with this edge selected here. What I'm gonna do is press G x negative six, and it's going to move back horizontally six frames, right? So I'm going to do it again for this edge here, I'm going to press G x six, and it moves it forward and then press Enter. So now we have a twelv frame overlap here. If I wanted a 1 second overlap, I would do GX negative 12 and g x2. So I'd get a 24 frame overlap. But let's try it like this. I'm going to select this shot and Shift-click this shot here. And then I'm going to press Shift a transition cross. And there it is there. So now that's a twelv frame crossfade between these two shots. So let's see how that looks. I'm going to press Shift and left arrow to go back to the beginning. I'll hit the spacebar. We've got the fading from black and the transition there, That's not bad. Yeah, I think that's probably all we need is just a 2.5th. Let's try it and see how it works. I'm going to press Control S and save the scene. And then I'll select this one. Press G x six enter, and select this one, g x negative six enter. Now I'll select this and this, shift, a transition and cross. Let's try that. Yeah, that's pretty good. However, I kinda feel like, alright, I'm gonna try 1 second. Cross fades here. I'm going to delete these and I'll take it back another six frames, right? Gx, negative six and x six. Let's just see what happens with a 1 second crossfade shift a transition cross. Then I'm gonna do the same thing here. G X6 and GX negative six. Let's try this. And then these two shifts, a transition cross. Let's try this shift left arrow and Spacebar. Yeah, my computer's having trouble keeping up, but I think that's a little bit smoother and nicer. I'm gonna go with that. Alright, so now what we need to do is press GX negative 12. And G x 12. So we get that 1 second cross-fade. Alright, shift a transition cross. There we go. G x 12, GX negative 12. Here we go. This one, this one shift a transition cross. And we'll keep doing this for the others here, g x 12 and g x and negative 12. Alright, so now we've got transitions for these. I guess we do need it here. Don't leave. So let's do that real quick. Grab this one. Negative 12, and let's add that cross fade shift, a transition cross. And for this one, we need to fade it out. So let's press Shift a fade and fade out, and let's try that. But recall we're going to need one of these black strips to put underneath there. So let's just take this and press shift D and move it over and drop it right there. And let's see how that works. Yeah, we're going to need to extend it to the end of the sequence here to frame 720. Let's try that. Okay, let's take a look at the whole thing. I'm going to press Control S and save it. Shift and left arrow to go to the beginning. And I'll hit the space bar and here we go. So my computer may have a little trouble keeping up, but let's see what we can do here. Yeah, So that's kind of a nice timed know that something happened there. Let's see what happened there. So it looks like my crossfade isn't really cross fading, right? It's popping in here a little bit too soon. So let me delete that and let's see what happens here. Alright, let's try that again. I'm going to select this one and this one, shift a transition and cross. Let's see how that works. Yeah, that's a little bit better. Okay. Let's try this one here. Good. This one. All right. This one now let me see about this again. Yeah, that looks good. And then let's see how it fades to black here. Good. Okay, so now we've got our transitions in. I'm going to press Control S and save the scene quickly. I just wanted to show you how you can adjust the color and brightness of this. So to me, this seems a little bit too dark compared to this one. And this one, this one just seems a little bit too dark. Which you can do is come back over here to the Modifiers tab. And I'm going to click Add strip modifier, and I'm going to select curves. We've got color balance and bright contrast in hue. But for me, the curves just works pretty well. I'm gonna move this over here. And all I want to do is just add an S curve. Again, I'm going to take this, I'm going to add a point here and add a point here. And I'm going to drag this one down just a bit. And this one up just a bit. And you can see we can make it just a little bit brighter while still maintaining that contrast. That's the key. If we went into the brightness and just turned up the brightness, it'd be hard to keep that contrast. So I'm just going to maybe move it up like this and then let's see how we look here. Yeah, that's a little bit better. I feel like it's just a little bit closer to the others here. And then this one, we can add one here and a curved here and then take this and this and then maybe take this down just a bit. Right? So you can just kinda play with this and see what you feel you need to do to get them to look a little bit more similar to each other. Alright, so now I think we're to the point where we can export this out. So to do that, we've still got our FFmpeg video here. That's good. And our container is MPEG-4. I want to put this in my videos, but I want it to have a different kind of names. So what I'm gonna do is actually turn off file extensions here. And then I'm going to come up into this and call this final Video dot np. For. Now it's going to give it this name and add this extension without trying to do it automatically. Alright, I'll press Enter and let's give this a try. I will go back to the beginning with Shift and left arrow, and then I'll press Control F2. And here we go. It's moving pretty quick. And that's a good thing. There we are. All right, let's take a look at the actual video. And here is that final video in our videos folder. And if I bring this over here, Let's take a look at this. And here it is. Yeah, so those dissolves. I think that 1 second dissolve for those is pretty good. The cross fades between the clips. So there we go. We've got our final video. 119. 119 Adding Music: Well, I'd mentioned there'd be some audio on this, so let's go ahead and add that. I'm going to hit the a key to select everything here. I'm going to press the GY and move it up. Oh, I don't know a couple of tracks here and click just to move all that up. I personally like to have the audio on the bottom. That's just a personal preference. So let's go back to frame one now. Let's bring in some music. I'm going to press Shift a go to sound. And in the music folder here, I've got several selections, but I think this one here I'm going to use, I'll click add sound and there it is. Now if we zoom out, we can see it's a little bit too long for what I have here, but it kind of fades out at the end. So to be able to see the waveform, you just need to come over here to strip and click Display waveform. Now, this is a panel that opens up when you press the N key here. So alright, Let's just come down here and click Play and see what happens. Here we go. Alright, I think that's a little too loud. Let's bring that down a bit like this. See how that sounds. I'll click Play again. And here we go. Alright? Alright, so I think what I'd like to do is begin it a little bit early or begin to music a little bit earlier than the video and extend the video out just a little bit for this tail. So I think what I'll do is change the output. Let's scroll back up here from 720 to maybe 800 frames. Let's do that. And then if I click and drag this, I can hit G and move this back just a bit. Maybe 12 or 13 frames, something like that. Then if we go back to the beginning and hit play. So it begins, so the music begins just a little before the visuals. And then for back here. So maybe I want it to go to let's try 88 Twenty-five, give it another second there and then I'll grab this and just move it back like that. Alright, so there's a couple of issues I'm gonna deal with. One is the speed at which this shot fades in. I feel like it's a little bit quick. And also we've got that Alpha channel here, right here. So we need to bring the black back a bit G and move that back to frame one. And then this one, feel like we need to extend that fade in. So what I'm gonna do is just come down here and grab this and bring this up just a little bit like this. And you can see the timeline once we do. And then I'll pull this up a little bit. And so if we select a shot, like say here, you can see the keyframes for the fate end. So if I click here, you can see this is 13 frames begins right here. And then it ends right here. And you can see we come over here and put our cursor on that keyframe. The opacity is at 0 and there's a keyframe here. We drag it forward. Right here, it goes up to one. So the opacity, if you watch that you can see it over there on the right-hand side, goes up and down when we move between these two keyframes. So those are the keyframes or that fade. So I should be able just to take this G and move it back a bit, say to frame 50 here. And now that fade will be a little bit longer. Yeah. That's kinda what I wanted. It maybe moves a little bit more in time with the others. Then I think I need to take this and just move this black back so it ensures that, that is covered by black. So let's try that again. Yeah. Alright, so now I'm gonna go back here and let's fade this out. So if we select this one right here, I'll hit the Home key again. We can see, let me scroll out a bit here until we get to the end. There we go. So if I take this and then press Shift a fade, fade out, here are the keyframes for the fade out. So I can take this and move it back a bit, maybe to 750. So let's see how that works. Yeah, that's nice. That kind of fades it out. We do need to take this black and move it all the way back to eight Twenty-five as well. Yeah, that's nice. I think that'll that'll work. So let's go ahead and save our scene and let's press Shift and left arrow, and then let's see how it goes. Alright, so now if we want to export this out with the audio, we can come back over to our output settings and scroll down below the videos section to audio. And we just need to add AAC. And this will automatically combined this audio with the MPEG-4 video here into one file. So all we have to do now is just press Control F2 and export our video. 120. 120 Thank You: Well, thank you for joining me on this journey to create a Victorian room using Blender and Substance Painter. As I mentioned early on, I really enjoy this kind of project. I hope it's been helpful for you and maybe even a bit inspirational to continue on and create your own scenes for whatever projects you have in mind. Please check out my other blender courses if you'd like to learn more about creating characters and vehicles and animations. There are lots of courses to choose from. And thanks again for checking out this course. I really appreciate it. I hope to see you soon and take care.