Create & Design a Modern Interior in Blender

1. Introduction: Hello veron and welcome to the create and Design a modern interior in Blender. Throughout this course, you will learn how to model a room, texture it, create photo realistic materials, add in professionally main models, and more. Learning to create architecture in any three D program is a great skill to have. By the end of this course, you will have created this result. The first section is an introduction to blender and interior design. In this section, we will start out by modeling our room and getting the dimensions just right. We will also learn about adding lighting and creating materials. The second section is all about filling our interior. We'll start out by learning how to model a couch and then use the claw simulation to simulate the cushions and the blanket. After that, we'll create a fabric material and then import it into our scene using the asset browser. In this course, there are 17 professionally made models which you can download and use for your own projects. If you're wanting to learn how to create these models yourself, there are tutorials at the end for each of them. In the last section, we'll focus on the camera and the composition of the render. We'll also learn about adding multiple camera angles, post processing, and much more. For a couple bonus sections, there is one about creating a clay render, another for creating a nighttime version of the scene. And then for another one, we'll use the EV render engine to render at our scene. If you're wanting to learn about interior design and create a stunning render, hit that enrollment button, and let's get started. 2. 7 Key Principles of Interior Design: When it comes to interior design, there are seven key principles that you need to think about. Those being balance, unity, rhythm, emphasis, contrast, scale in proportion, and details. We're going to be going through each one of these and we're going to talk about how they are important when it comes to interior design. Starting out with, we're going to talk about balance. Balance is essentially the arrangement of furniture and elements of the room and how they look visually. When arranging your elements, you want to think about what kind of balance you're going for. This could be symmetrical balance like you see in this image. The bedroom is split into two. There are identical night stands on each side, identical lamps. The pillows are exactly the same. This is symmetrical balance. Here's another example of symmetrical. You can see both of the couches are exactly the same. The lamps on each side are exactly the same. This is symmetrical. Another type of balance is asymmetrical, which you can see in this image. You can see there is a couch on one side, and then there's these bean bag things on the other side. This is asymmetrical. It's not identical. Usually, this type of balance offers a more modern and energetic field to the room, and I think it looks a little bit more interesting. Lastly, radial balance there's a center point and everything around it is pointing towards that center. This could be a dining table, or in this example, you can see that table and then all of the chairs are pointed towards that. That is radial balance. The next key principle that we're going to talk about is unity. This is basically the harmony or unity of all of the elements in the room. This could be similar colors used for the furniture, patterns, textures that are matching, things like that. In this example, you can see all of the furniture has an old rustic feel, and so this looks really nice. You wouldn't want a modern piece of art or technology right next to an old grandfather clock. That's not going to look very nice. That's not going to unify the room. You want to make sure the elements and furniture matches, and there's not some random piece that doesn't belong in that room. The next one is rhythm and this is the repetitive rhythm of the room. For example, if you have one object, that is a light blue color and then another object, that is somewhere else that has that same color, that's going to be a repetitive rhythm. In this example, you can see the curtains for the windows and the chairs and couches all have a similar texture. This is creating a repetitive rhythm to the room. Emphasis is also another important thing when it comes to interior design. This is the object or element that's going to be the focal point for the viewer. What is the viewer going to notice right when they look at your image? What do you want the focal point to be? In this example, you can see the bathtub is the focal point. That is where your eyes are drawn to. Another image right here, you can see this, the chair, the table, that is the focal point. This is a very nice looking image because there is an emphasis on where you're supposed to look. Figure out what you want your main emphasis to be and then position the other furniture to complement that main emphasis. Contrast is the next key principle, and this is the principle of adding two different contradicting colors, shapes or forms that help complement each other. This could be using in black and white, or in this example, you can see there is a heavy rich blue next to a orange looking art piece. This creates a very heavy contrast for the eyes and it's satisfying to look at. Contrast can also be used with shapes. For example, if you have a round piece of furniture next to a rectangle piece, this will give a heavy contrast. The next one is scale and proportion. This is how all the objects and elements fit inside your room. This is all about the size and ratio of the objects that are inside your interior. For example, if you have a large chandelier with a low ceiling, it's not going to really fit well, it's going to feel clastrophobic. You want to think about that when you're working with scale and proportion. This example, you can see there is a very tall ceiling, so they can hang a very low candle right here and that creates a nice scale of proportion. They wouldn't really want to have the candle way up here because it's going to be really close to the ceiling and there's going to be a lot of open space. That wouldn't really work with scale and proportions. They also have these very tall statues because they have a very tall ceiling. In this example, you can see all of the chairs and couches are the similar size. Everything looks very proportionate and it looks really nice. Again, when you're thinking about scale and proportion, you want to make sure all of the furniture fits together and there's not one that really is so much bigger than all the other pieces. Attention to details is probably one of the most important parts of interior design. This can turn your render from a good one to a great one by just adding a couple of elements to your interior. You can see in this image, there is a lot of detail and elements around the room. In my opinion, this looks a little bit too detailed, so you may want to tone it down so it doesn't feel as crazy when looking at it. This image right here is much better. You can see it's not as busy, but there is still a lot of details around the image. There's a lot of books in the bookshelf, the textures on the wall, all of the lights that are hanging from the ceiling. It looks really nice and there is a lot of detail in it. Adding picture frames, blankets on the couches, books on the window sill, things like that, pillows on the chair, as you can see in this image, really helps to make your render stand out. When you are designing your interiors, you want to think about these seven key principles. There are no rules. You don't need to follow these principles, but they will help to make sure that your interior looks really nice. Thank you very much for watching and I'll see you guys in the next video. 3. Blender 4: Hello everyone. In this video, we're going to cover the very basics of blender. We're going to go over moving around the three D viewport, the different views, solid view, render view, how to move, scale and rotate objects. All of the very basic things that come with blender, we're going to cover in this video. So if you are a complete beginner, this is the video for you. Before we get started, I want to mention that if I ever use a shortcut throughout this course, you can always look at the bottom left and see what shortcut that I press, and you can see the mouse buttons as well. For example, if I left click, you're going to see that it displays the left click right there, same thing for middle mouse, and then right click as well. Shortcut keys, you can see it displays there. If I press N, you can see this, it'll open up the properties panel and it'll display it on that bottom left corner. Now, before we get into this video, I want to quickly mention the different render engines that blender has to offer. We can see the render engines by going over to the render panel, which is this option here. It looks like a camera. If you select it, you can see the render engine is displayed here. The default one and blender is EV. Now, EV is a real time render engine. This means you can move around your scene in real time. You can see the materials lighting. All of that is calculated pretty quickly. Cycles, on the other hand, is Blenders physically based path tracer for production rendering. It's designed to create very realistic results right out of the box. Workbench is not really used for rendering, it's mostly used for previewing your scene or your model that you're currently working on. It won't really display lighting or shadows that well. As you're working, you can use the workbench. It does have some nice features in the three D V port. But when you're ready to render, I highly recommend switching to EV or two cycles. Here we are in a brand new scene and blender, and this is what you're going to see right when you launch the program. Now, there is a lot to this. There are so many different menus values to look at. Let's just go through it one by one. Before I show you how to navigate a on the three D viewport, let's understand what we're looking at. So right in the middle of our screen, this is what we call the three D viewport. This allows us to see our scene, what it's going to look like. The different models and objects that are inside are going to be displayed in this three D viewport. On the left side, we have our toolbar. There are a bunch of different tools that we can use to move objects around, add objects, scale, all that kind of stuff. On the top here, we have our work spaces. Right now, we're using the layout one, but there's also one for modeling, sculpting, animation, rendering all that kind of stuff. We can see the default ones here. You can also add new work spaces by hitting that plus sign as well and you can add the ones that you want. Down at the bottom, this is our timeline. This is for the animation data in our scene. We can see the timeline is displayed here. We can see the start frame and end frame, how long our animation is going to be. On the right side, this is our properties for our blender file. Here we can change different values for our cube that we have in the middle of our scene. We can add modifiers, physics, materials. All of these different panels that you see here are selecti and you can see what they do. We'll be covering a lot of these in the sore, so don't worry about them right now. And then above that, this is the outliner. This displays every single object that we have in our scene. We can see the three that we have here, a camera, a cube, and then a light. And they are placed in a collection. And you can think of collections as different layers in your scene. You can turn them off and on by clicking the little i right there. You can see all of our objects disappeared. Then I can reenable it by clicking it there. I can also disable it, and this will make sure it doesn't interact with the rest of the scene with that checkbox. Then you can also hide it from the render by selecting the camera icon. So if we were to do our render, these objects are not going to show up if this is unchecked. And above that is the scene collection. The scene collection holds every single collection that's going to be in our scene. Now that we have a basic overview of what we're looking at when we open up blender, let's learn how to move around the three D viewport. Now, to move around the three D viewport, there are a couple different ways to do this. The middle mouse bun is what you're going to be using most of the time. You can see here if I hold the middle mouse bun and I click and drag, you're going to be able to view your model and you can rotate around using your mouse. Now, some mouses don't have that middle mouse button, and what you can do to help that is you can emulate it. Back in our user preferences, underneath the input tab, there's an option for emulate three button mouse. If we enable that, now what's going to happen is if we hold the Ault key or the option key on a Mac, and then left click, that's going to do the exact same thing. You can see here I'm holding the Ault key, and if I left click, we can move around the three D V. If you do have a middle mouse bun though, I don't recommend turning this on because Alt is used for a lot of other things. But since I have a three button mouse, I'm going to uncheck that so I can actually use the middle mouse bun to move around. Now to zoom in and out, you can use the scroll wheel on your mouse. Another way is to hold control and then middle mouse bun, and that'll allow you to zoom in at a smoother rate as you can see here. You can also pan the view by holding this shift key and then middle mouse button, and that'll pan the view like this. Another thing to keep in mind is the orientation of where you're currently looking. You can see here if I pin the view all the way out here, now we're looking in this direction. It's hard to see that cube over there, and now we're stuck here. What we would have to do is hold the shift key and then bring the orientation back to where the cube is. Now we can see we're looking over here, I'm going to rotate this way a little bit, and now we're looking at the cube like this. Another way to get back to your scene is, for example, if I go way out here and I'm stuck and I don't really know how to get back, you can hit the period key on your number pad. And that'll zoom in on the object that you have selected. Another way if you don't have a number pad is you can go over to view down to frame selected, and this will do that exact same thing and bring your orientation back to whatever you have selected. That's a very easy way to zoom in on different objects or to get back to your scene if you've gone really far out. Now, speaking of selecting objects, we can see our current selection is the cube, and it's highlighted with that orange outline. You can select different objects just by left clicking on that. We can see now we've selected the default lamp or the camera, we can select it. You can select multiple objects by holding the shift key and then left clicking. Now you can see we have multiple objects selected. One important thing to remember is the active object. The active object is the object that was selected last, and it's highlighted with the lighter orange. You can see the cube and the lamp are with a darker orange, and then the camera is a lighter orange color. This means it's the active object. If you hold shift, you can change the active object to the other objects as well. Now, the cube is the active object. To deselect everything, we can press alt or option if you're on a MC and then hit A. You can also press A to select everything in your scene, and then double type A is another way to deselect everything. W that we know how to move around our scene and select objects. Let's talk about scaling, moving, and rotating different objects. Let's select the cube by left clicking on it. To move an object around, you can hit the G key. This is going to move the object based on where you're looking. You can see here I'm moving it around like this. But if I move to this side, we can see here it's moving around based on the view that I'm looking at the object. Now, you can lock movement to different axes. There are three different axis in blender. The x axis, which is the red going across this way, left and right, the y axis is the green going front and back, and then the z is up and down. But we can't see that unless we enable it. We can enable it by going over to this button here on the top and then selecting Z. Now we can see the z, and that is going up and down. To move objects around, we can hit the G key, and then if we want to lock it to a certain axis, we can press the axis that we want. For example, y. Now it's locked to the y axis, and it will only move front and back. You can also right click, and then I'll cancel an action. If I press G and I don't want to move it, I can right click, and it'll snap back to its original position. You can also type in different values for moving objects. For example, if I press G, and then I lock it to the z axis, I can hit two, and now it's moved up 2 meters. To undo something, I can press control Z or command Z. Now, that is how you move objects around and to rotate objects, you can hit the r key on your keyboard and that'll start to rotate. Now, again, this is going to rotate based on the position of where our viewport is. You can also lock rotation to a certain axise as well. If I press r, then x, I can lock it to the rotation of the x axis. Scaling works exactly the same way as rotating and movement. If I press the S key, I can scale my cube up and down, I can lock it to a certain axis. You can also overwrite the axis by changing it to the x or to the y just like that. If I want to cancel that movement, I can right click. Rotating and scaling is also based on the origin point of your object. The origin point is that little orange dot right in the middle. Every object in blender has an origin point and basically it's the center of that object. You can also change the origin point by going into edit mode. This is a mode that allows you to edit individual vertices. For example, though, if I select everything by hitting A and I move it over to the side, now the origin point is right there instead of in the middle. Now if I rotate, it's going to rotate based on that origin point just like that. Now, let's say that we wanted to add a different object to our scene and we don't want to work with the cube. We can delete it by hitting the x key and then selecting delete objects, and it's going to delete the objects that we have selected. If we wanted to add a new object, we can press Shift A or go over to the ad menu right here and selecting different objects. I like using the shortcut Shift A, I find it a lot faster. We can add in a new mesh object and let's select the UV sphere. Now we've added a new object into our scene, and we can see it right there. Now, where it's added is based on the position of our cursor. You can move the cursor around by selecting the cursor button here, and now if we just left click anywhere in our scene, the cursor will move to that position. Another way to move the cursor is if you hold the shift key and then right click, that'll do the same thing. And then if you wanted to get exact places for our cursor, we can press the n key to open up the properties tab, and then underneath the view option, we can change the rotation and the cursor location right here. I'm going to press n to close off that panel. Let's press x and delete that UV sphere. Another way to center the cursor is if you press shift C, that's going to snap the cursor back to the original origin of the entire world. Now, when you're working in blender, a lot of the time, you're going to want to go into certain views in order to rotate or move or edit different objects. To go into those views, we can hit the number key one on our number pad, and this is going to push us into the front view. Now I can hold shift and middle mouse feed pan in the view, and now we're looking directly in the front view of our object. If we wanted to look on the side on the right, we can press three on our number pad, and that's going to move it to the side view. Seven on the number pad, we'll go into top view, and then you can also press Control seven, and now we're looking at the bottom view. If you don't have a number pad, what you can do is go over to view and then select the viewport, and then you can choose the ones that you want here, and you can see the shortcuts on the right side. Now, working in the menus can be a little bit annoying and take a long time. Another way to do that is to again emulate. Remember when we emulated the middle mouse bunt, you can do that for the number pad as well. We can go over to edit down to your preferences. Underneath the input tab, we can turn on emulate numpad. Now what happens is if I hit the key one, that's going to go into the front view. And even though it says number pad on the side here, I'm using the top row of numbers on the top of my keyboard. Again, three is to go into the side view. Control three will go into the other side. Control one, we'll look from the back, and so on. Memorizing the shortcuts for these use is very vital for working and blender and it'll save you a lot of time. Since I have a number pad though, I'm going to uncheck that amulin numpad because the top row is used for other things. Now, earlier in this video, I pressed tab to go into edit mode with the object that we have selected. What this does is it changes our view and now we can see the individual vertices on our different objects. You can go into this view by again hitting Tab, or you can come up to this menu and selecting Edit mode right here. Now, right now, we are in the vertice select mode, so we can select the individual vertices on our different objects. Also different ways to select up here on the top here. We can see if I change it to the middle one, this is the edge select mode. Now we're selecting different edges on our mesh. Then the last one is the face select mode. All of the different faces, we can select like this. You can change between these different modes by hitting the top row on your keyboard. One we'll change it to the vertice, two is for the edge, and three is for the face select mode. In Edit mode, let's say I wanted to make the head right here a little bit taller. I can select holding shift, multiple different faces like this. Then if I hit the G key, that's going to allow me to move the different faces, as you can see here. If I wanted to log in to the Z axis, I can do that. I can rotate it. All of the different movement and scaling options in object mode also work in edit mode. Can also press E, and that's going to extrude those faces in the direction that they're facing. You can see here this is at a slight angle. So if I press e to extrude, it's going to extrude it at that angle as you can see. Now, you can change this if you want to. Let's say I hit E, and I want to go straight up rather than an angle. I can press z, and this will go into free form, and then I can hit z again, and now it's going to lock it to the z axis. Then if I wanted to undo, I can press control C a couple times. There are also different modes of editing your object. If we go back over to this menu, we can see there is sculpt mode, vertex, weight paint, and texture paint. Sculpt mode is for sculpting your objects. Over on the left side, you have a ton of different tools. If I just start clicking on here, we can see we're now sculpting our mesh. There is also vertex paint mode, which allows you to paint on the individual vertices, which can be used for different modifiers, text drain, all that kind of stuff. Wait paint is also very useful. It allows you to paint on the different faces and vertices, giving them values, which then can be used for modifiers, simulations, all that. Texture paint allows you to paint certain textures on your mesh. This is very useful for making different details on your models and adding some cool unique textures. Now let's talk about the different views in blender. I'm going to first add in a plane object. I'll scale it up a little bit, and then I'll press shift a and add in a cube object. Now we have two different mesh objects in our sat. If I press z, I can go into wire frame. What this will do is it allows us to see through our mesh, and everything has now turned into a wire frame. This is going to be very useful for see through your mesh to select an object that's behind it or to go into edit mode and interact with the different faces and vertices that are hard to see. If I press Z, we can also see the material preview will allow us to see what the material is on our object. Since everything doesn't have a material, it's just going to be displayed as white. You can also press Z and go into the rendered view. This will allow us to see what our object is going to look like once we actually render out an image. This calculates the lighting. You can see the lamp is casting a shadow. If I move the lamp around, it's going to move the shadow based on the position of the lamp. You can also go into these different views by selecting the ones up top here, the left one is wireframe, solid material, and rendered view. We've gone into the properties menu by hitting a couple of times, so let's talk about it a little bit more. If we go over to the item tab here, we can see the position and rotation and scale and dimensions of the object that we have selected. If we select the plane, we can see the scale, the dimensions here. If we rotate it, you can see it's going to be rotated, those values are going to be displayed there. This can be very useful for finding different angles of your objects and seeing exactly how big or small they are. Now, lastly, before the video ends, let's talk about the timeline. The timeline down here is how long your animation is going to be. You can play it by hitting the play b here, or again, you can hit the space bar and that'll also play it as well. Now, since we have a default scene, there is no animation data. Let's do that real quick. Let's create a basic animation of the cube moving from the left side over to the right side. So what we need to do in order to get this done is we first need to restart the timeline. We need to press G on our cube. Let's lock it to the x axis, move it to the left side. Then let's add in a key frame. Now, to add in a key frame, we can hit the k and we can select which key frame that we want. Since we want our cube to move from the left side over to the right side, we want to select location. Now, if you had some animation that you want it with the rotation, you can select that here or scale. Let's select location. Now we've added a location key frame right there and we can see it with that yellow dot. On frame one, we're telling Blender, this is the position of the cube where I want it to be. Now let's jump to a different frame. Let's go over to Frame 40, for example. Now if we press G, then x, we can move it to the right side. Again, we need to add in another location key frame. We'll press k and then select location. Now, we've told blender that on frame one, I want it to be on this side, and then on frame 40, I want it to be on this side. Now, if we restart the animation, and then if we hit the space bar play, it's going to move from that location over to this new location over the course of 40 frames. So that is a very basic way of animating. Let's try rotating. On Frame 40, we're going to hit k and select rotation. Now, it's not going to overwrite that keyframe, it's just going to be added to it, as you can see over on the right side. All of these values now have that yellow color. If we go over to frame 60, we can hit R, then z, and you can also type in a manual number. Let's say I wanted to rotate this cube by 90 degrees. I can hit 90 and then enter, and now we'll need to add in another keyframe again, so we'll hit. And then select rotation. You can also select available, and that'll look at the values from the previous keyframe and see if anything is changed. Since we change the rotation, if we select available, that's going to add in a keyframe to the rotation. So now let's see what happens. We'll restart by hitting that end point button. You can also press shift and then left arrow. That's going to snap the cursor back to the beginning. And now if we hit the space bar, we can see there, and then it rotates. So now we've created a basic animation. Now, there we go. That is a basic overview of Blender. Now, there is a lot more to Blender. There's so many more things that we could talk about. But in this video, I just wanted to cover the very basics. Over the coming videos, we're going to learn more about Blender. And if you have any questions throughout this course, please let me know, and I'll respond to it as soon as possible. Thank you for watching, and I'll see you guys in the next video. 4. Setting the Dimensions: Hello everyone, and welcome to the first video where we're actually going to start creating our modern interior. Now before we get started, I do want to mention that if you ever get stuck throughout this course, just leave a question and I'll respond to it as soon as I can. If we're going through the videos and I use a shortcut that I don't explain, you can always look in the bottom left corner. You can see if I left click, it's going to display right there. If I right click, if I middle mouse bun, all of that will be displayed on the bottom left. Also, if I use shortcuts like shift A to add something, you're going to see that displayed right there. In this video, we're going to set up the dimensions for our modern interior. We're going to set the exact height and width and length of it so we get precision as we are working. The first thing that we need to do is use this default cube right here to set the dimensions. Now there is one thing that we need to do before we start setting those, and that is positioning this cube. Right now it's in the middle of the grid floor. This means that it's halfway down, going in the negative values of the z axis. If I press n to open up the properties tab, you're going to see the dimensions right here, which is two by two by 2 meters. Since the location is at zero, half of the cube is going in the negative direction of the z. Now, this isn't really going to affect the look of your modern interior for the final product. It's going to make things a little bit harder to work with. Instead, we're going to position everything on the grid floor. What we'll do is we're going to go into Edit mode with this cube selected. You can do that by hitting tab or you can come over to this top menu and select an Edit mode. If we press G, it's going to move the cube, but leave the origin point right at the center, which is what we want. Because right now, if we scale this up, you're going to see it's also scaling downwards. But if we go into edit mode and press G to move it, we're going to press z to lock it to the Z axis, hold in control or command, we're going to snap it right to the grid floor, just like that. Now what happens is if we go into object mode by hitting tab once again and now if we scale it up, it's going to scale outwards rather than going down, which is exactly what we want. Next, let's come over to the dimensions over here. We're going to set the x dimensions, which is that red line, it's this way. We're going to set that all the way up to 4.5 meters. Then we're going to set the y direction, which is the length. We're going to set that all the way up to a value of seven. Now we have a long rectangle cube. If you think this is too much, if you think you want to scale it inwards, you can. It's all up to you and how you want to set the dimensions for your modern interior. The other thing that we need to do is change the height because right now a height of 2 meters is too small. This will make everything feel cramped in. What we'll do is we'll set the dimensions, and if you look up average height of ceilings, it's around 2.74 meters. Type in 2.74 and enter. Now we have a taller ceiling and it looks a lot better. Another thing that you're going to notice is the scale options right here. You can see there is two, 3.5, 1.3. This is not very good. This is going to affect modifiers, beveling, all that stuff. We need to make sure all of these scale numbers are set back to a value of one. We can do this by hitting control or command A and then selecting scale. Now those values are back to one and now modifiers, scaling, beveling, all of that will work properly. Next, before this video ends, let's actually add in the window over here in the back. To do this, we're going to enable an add on. We're going to come up to our user preferences by going up to edit down to your preferences. Then underneath the add ons tab right here, we're going to type in the word arc, and you should see the ArkMSh add on right there. Go ahead and check that box. Now what happens is if we press Shift A, go over to Mesh, we have an option for the RC mesh. What we're going to be adding is a panel window. Go ahead and select that. If we press Z and go into your wire frame, we can see that our window is right in the middle of our scene. We want it to be over here. Now, if you try to select the window and move it, that's not going to work. That's actually because all of these are locked. To move the window, we need to select that empty object, which is this object right here. This controls everything. If we move it now, it's going to move it around. We're going to press G, then y, and drag it all the way towards the back. Now, to be a little bit more precise, let's go into side view by hitting three on our number pad, or you can come up to view down to the viewport and then select the right option right here. Let's make sure our window is right in line with the wall. I'm going to press G, then y, and just drag it over to the left just slightly, so it's right in line. Next, I want it to be right on the floor as well. I'm going to press G and z and drag it up just a little bit, so it's sitting right on the floor. Next, if we want to change the height of this, the size of it, we need to select the window, and going over to the properties tab. Again, you can press to open that up and jumping over to the create tab. Here we have a lot of different options. The horizontal count controls how many windows there are going horizontally. The vertical count adds another one up top. You can play around with these and set them to exactly what you want. What I'm going to do is set the horizontal count down 23. Then down here, these values down here control the size. For this one, I'm going to set it 290. That's going to make them a bit wider. Same thing here, I'm going to set this 1290, and then last one, I will also set 290. The bottom value here controls the height of it. I'm going to set this to 235. The check boxes on the right allow you to add an inner frame to the window. You can see here if I uncheck that, it just adds a slight inner frame here. If you want to add that detail, you can, but for my scene, I'm just going to leave them all off. Next, I want to move it slightly to the left. I don't want it to be perfectly centered because I also want to add in something over here later in this course. I'm going to move it slightly to the left right about there looks pretty good. Now if we come outside and go back into Clive by hitting z, you're going to see that we can't see through our interior. That's because we need to cut a hole in this cube. Now there are two ways we can do this, either a destructive way, if we go into EDI mode, we can add in some loop cuts and then just delete this face right here. But this is a destructive way. This allows us to not go back. Instead, what we're going to do, I'm going to control that a couple of times. We're going to cut a hole using a modifier. This allows it to be non destructive and we can play around with the modifier later in this course. To do this, have your modern interior cube selected. Jumping over to the modifier tab, we're going to click Add Modifier down to generate, and then we're going to select the Boolean modifier. The Boolean modifier allows you to add objects or cut objects using other objects, which is very useful. What we'll do is using the eye dropper tool by clicking right there. We're going to select the outside, which is the control hole object. It's this cube right here. Now, we can see that there is an actual hole. But if we go inside, you can see all it did was just push it back. The reason that's happening is because this cube is being treated as a completely filled in object. What we need to do instead is actually make this object appear empty. We can do that by adding in another modifier. This time, we're going to add in a solidify modifier. Go over to generate down to solidify. And we need to make sure this is above the Boolean modifier. Now, if we hide our window by selecting it and pressing H to hide it. We now have a hole, and what we can do is actually move this around. If we want to move it to the left, we can or to the right up and down, it adapts to wherever the hole is. I'm going to unhide that by heading to H, and there we go. We've now added a window, and that looks really nice. In the next video, we're going to create some ceiling detail. 5. Adding Ceiling Detail: With the dimensions done, we are ready to add in a little bit of detail to the ceiling of our modern interior. To get started, let's select our cube and go into edit mode by hitting tab. We're going to come up to this menu and select the face select mode, or you can press three on your keyboard to switch to it. Select that top face, and what I want to do is actually separate this object from the rest of the objects. We can do that by hitting the shortcut P and then going selection. Now we have two different cubes. We have this cube, and then we have this cube down here. Let's select this top one and we can go ahead and delete both of these modifiers since it's not going to interact with the rest of the room. Then up here, we're going to name this object. It's important to name your object just so you stay organized when you're creating large scenes. To name an object, just double click, and we're going to call this ceiling. Then we can also name this cube right here, which is the room. We can just call this walls. Next, select your ceiling object, and then let's go into the front view by hitting one. I'm going to zoom in here. What I want to do is inset this and extrude it upwards. We're going to add in a couple of extrusions and insets to create a nice lighting strip later in this course. To do this, let's go into edit mode, make sure everything is selected by hitting A, and then I'm going to hit I to inset a face. Let's drag it in just a little bit and then left click to place it. Now we have this ring just like that. Next, let's go into front view once again, and then let's extrude it upwards. I'm going to press E to extrude and extrude it up. Then we'll inset this once again, hit I to inset, drag it in a little bit, and we can't really see what we're doing, so let's look at a different view. Let's scale it in and you might notice though, if I scale it, it's going to scale this way a lot more than it's going to scale this way. Instead, let's control to that and then inset it from this view. Hit I to inset, and then we'll inset it right about there looks pretty good. Now we'll go back into front view and extrude it down. I'm going to press e of extrude. We're going to go halfway. Then we want to extrude outwards. This time we're going to press e of extrude and then right click to place it right at that location. We'll go into top view to make sure that we can see what we're doing. And I did that by hitting seven on my number pad. And this time, we're going to scale out right about, there looks good, and then we have the same problem. This side is way more scaled out than this side. To fix that, I'm just going to press S to scale, then hit x to lock it to the x axis, and just scale it till the line right there lines up with the other line, and that'll be a perfect dimension. There looks good. Then finally, we're going to extrude that one more time going down till we get right about here. So Later in this course, we're going to add a lighting strip to the inside right here, and that'll create a really nice aesthetic when we render it. Can also play around with this if you want. For example, if you want this edge to be a little bit longer, you can go into the pace select mode, holding the alt or option key, you can select that corner. Then we can scale this outwards. You want to make sure though if you do this that you press S and then shift z to lock it to the x and y axis. This way, it's not scaling upwards using the z axis, but it's locked to the y and the x axis, which I might do. I'm going to scale it out just a little bit. And I'm happier with that result. There we go. We've now added a little bit of detail to our ceiling, and then in the next video, we're going to add some trim along all of the corners. 6. Creating the Trim: Now it's time to add it some trim going along the walls. We're going to do this by adding in a new object. Let's press shift A, go over to mesh, and then add in a new cube. This cube is currently way too big, so let's go into front view and scale it down. If we open up the properties tab by hitting n, we can see the dimensions right here. We want to scale this down until the z height is around 0.015 meters. I'm going to scale it down really far until it's about 1.5, right about there. Looks good. Next, I'm going to press S, and then x and make it a lot skinnier. Right about there looks good, and then let's position it over here along the wall. Then let's zoom in on it. An easy way to zoom in on an object is to hit period on your number pad, or you can come up to view, down to frame, selected, and that will also do the exact same thing. We can see that this trim looks a little bit born. All it is is just a e with some sharp edges. So let's fix that. First off, if you see the scale numbers, they are completely messed up. Again, if we were to bevel it, I'll just show an example real quick. If I select this edge and just bevel, you're going to see this bevel does not look very good. You can see it's going down a lot more than it's going to the side. Again, that's because the scale numbers are wrong. So let's press control or command A and apply that scale. Now the numbers are back to one and it should bevel correctly. What we're going to do is actually be vel this corner right here to give us some extra detail. I'm going to do this by going into edit mode. If we come up here, we can hit two or going over to the edge select mode and then selected that edge right there. To bevel something, we can press control or command B to bevel and drag this down a little bit. You're going to see that that adds a little bit of detail, but we can do a lot more with this. Before you click anywhere else, let's open up this panel right here. If for some reason you don't see this bevel, that's probably because you clicked out. That's probably because you clicked out. Instead, just control z that and then try again and make sure not to click anywhere else until you open up this menu. Over here in this menu, we have a lot of different options to control the bevel. For example, we have the segments right here, if you want to round it out. You also have the width, which controls the height and strength of the bevel. But what we're going to use instead is a custom profile. Down here, we're going to click custom. If we open up the preset, there's a lot of different options here, like supportive loops, as a different preset, the steps, add stairs, just like that. That could be very useful for creating larger steps. But the one that we want to use is actually the default one. And then we're going to customize this ourself. Over in this curve, we can control the exact look of our bevel. What I want for this is to add something like this. That looks pretty good. I can also drag this a little bit this way. Something like this will look nice. Then if you want to control the width of it, just drag this up and it'll create a bigger bevel. If you think your bevel is too sharp and there's not enough resolution, just change these segments up here, which I might do. I'm going to go up to a value of 12. That looks pretty good. Again, you can control this how you want if you want a different shape, just drag it in and play around with it until you're happy with the results. There we go. I think that adds a little bit more detail to our trim, and I think that is looking pretty good. The next step is to align it to all of the different walls. To do this, go into edit mode and then press the Z and go into the wire frame view. Switching over to the face select mode, you can select that face along the edge right there and drag it along the y axis until it reaches all the way to the right. I'm going to press G then y and drag it all the way over here. To Zoom in on this point, we're going to again press the period key or you can come up to view down to frame selected, and it will zoom in right on that face. Once we've reached the corner, we have an issue. If we try to extrude and then rotate and then extrude out this way, it deforms our mesh, which is not what we want. Instead, we're going to use a tool over here on the toolbar, which is the shear tool. If we select this tool, you're going to see a couple of different axes open up. The one that we want to use is this one right here, this blue one going horizontally. We can do is just click right here and drag a little bit. Again, before you click anywhere else, we need to open up this shear menu and set the exact number that we want. Right here, we're going to set this to negative one. What this does is it moves the face and rotates it without deforming the mesh. Now what happens is if we press e to extrude and then lock it to the x axis, we can extrude out this way, and you can see there is the exact size that we need. Currently, though, it's not lined up to the wall. What I'll do is I'll go back into wire frame, press tab, to go into Etomde, and just select all of those faces. Then we can press G and y and drag it back until it reaches the wall on this side. So right about there looks good. Next up, just drag this face all the way till it reaches this window. Press G, then x, and drag it out this way. What I want next is for this to be flat, and we can do that by scaling it all the way to zero. Suppress S, then x, and hit zero, and now we can see we have a flat face. Let's drag it this way until it reaches the window. That looks really good. Next, we'll go back into EdA mode, and we need to duplicate this and move it to the other side. You can duplicate objects by hitting Shift D, then x, and drag it all the way over here. Let's line it up with the window, and again, we'll extrude it out this way. Once we reach the corner, we need to do the same thing that we did in the other corner. Again, using the sheer tool, we're not going to use this one this time. We're going to use the other blue one. Click right here and drag a little bit. Then in this menu, we're going to set the offset two negative one, and that should align perfectly. Then what we can do is just drag this all the way till it reaches the corner, and then press e to extrude and lock it to the x axis or the y axis, I mean, and there we go. We now have trim that goes along. Then at this point, just go into timode, G and y, and drag it all the way to the other side. You can go into wire frame to see exactly what you're doing. Then if you want to just flatten this out, press S, y, and type zero and enter. That looks really good. Let's double check the other side and make sure that side is aligned with this corner. What we'll do is we'll just select box selecting that face right there, hitting G and y and dragging it all the way to the other corner. Now, if you want to, you can add trim to this side, but since the camera is not going to even see that corner, we don't really need to add anything over there. What I do want to do though is add trim to the ceiling. With this object selected, we can press shift D, then z and drag it upwards. But currently, if I zoom in here, the trim is not the correct rotation. You can see it's upside down. We need to flip it around. To flip an object in blender, we can press control or command M. Then if you select your axis, which you want to flip it, and in this case, it's the z axis. It z, you can see it flips it upside down. All we have to do is line it up with the ceiling, suppress G and z once again, and drag it up till it's in line with the ceiling. We have another problem though and right here, we can see there is no trim. Now there is a very easy solution for this. If we go into Edmode, we can go back into wire frame, we need to merge those faces together. What I'll do is I'll select this face. Hold in shift, we can select this face, hit S, then type x and hit zero. Now we can see that completely closed in those two faces. We want to make sure though that these faces are actually merged together because currently they are still two separate faces. So what I'll do is I'll hit M and go by distance, and that's going to remove all of the vertices that are in the exact same position. You can see down here a removed 16 vertices. Then with this fase selected, we can press and delete that face. There we go, that looks really good. One more thing, if you want to clean up your geometry just a little bit by removing this loop cut, we can do that by coming up here to the top menu using the vertice select mode. Holding alter option, you can select that ring. I'm going to press x and delete the edge loops. There we go. We have those faces are now merged together, and everything is looking clean. 7. Adding the HDR: In the last video, we set up the trim along the bottom of our interior and along the top. Now in this video, we're going to get into some exciting parts of this course, and that is the lighting. Starting out with the lighting, we're first going to select the default lamp that comes in the seen. We're not going to need this, so go ahead and press x and delete it. Next, let's move the camera inside our modern interior. There's a couple of ways you can do this, you can select it and manually move it in. But this is hard and tricky because we're not going to be able to see exactly what we're doing. Instead of using that method, let's zoom in and then move our viewport inside our modern interior, right about here. Then let's snap the camera to where we are looking. There's a shortcut for this and that shortcut is control alt Numpad zero. If you don't have a numpad, you can go over to view. Down to aligned view, and then you can see that same shortcut right there, Control Alt Numpad zero. If we select that, boom, the camera is now looking exactly where our viewport was. You can press G to move it. You can also press G, middle mouse Mun and zoom in and out just like this. Another way that you can move the camera is if you press the n key to open up the properties tab, you can go over to the view option and then turn on camera to view. What this does is it locks your view to the camera. You can actually move around using the middle mouse bun just like you would when navigating the viewport, and this will also move the camera. I'm going to move my camera somewhere around here. Then I highly recommend unchecking the camera to view because if you don't do that, you might accidentally move your camera. Like for example, if I want to get out of the camera view, I just move my camera. So that's annoying. I highly recommend once you're happy with the view, uncheck this so it doesn't do that. Next up, let's change the focal length. I want a wider lens, so we can see more of the scene. I'm going to jump over to the properties tab with the camera selected. The focal length right here, let's go down to 32. Now we have a much wider lens. Let's bring it down by hitting G and Z, dragging it down just slightly. You can also rotate the view by hitting r and z, and I'm going to rotate it somewhere around here and then move it a little bit just like that. Now let's check out what rendered view looks like. If we press Z, we can go into the rendered view, or you can come over to the top right here and click on this button, and that will also go into the rendered view. Here is what it looks like. We can't really see anything. Everything is graded out. We can only see the window. That's because we are in the render engine EV, and there's also no outside lighting. Let's go ahead and fix that. Firstly, the majority of this course, we're going to be rendering it in cycles, and then later we're going to have a section dedicated to rendering an EV. Since we're going for realism, cycles is a lot better for this, especially for interiors. With the render engine selected, let's switch over to the cycles render engine. Now we're getting a little bit more dynamic look. You will see though that the device that we're using to render is the CPU. This makes everything much slower. Let's switch it over to the GPU if you have one. You also might notice that it just turned grade out. So let's fix that. We need to select our GPU in the user preferences. If we go over to edit down to your preferences underneath the system tab, you can select which card that you want to use right here. I'm going to use the Opt card and then my RTX 2060. Once you've selected your card, come down to the bottom and then save your user preferences and then you can exit out. Now you'll see that it's changed the GPU, and now everything should render a lot faster. Next, I'm also going to enable viewport D noising because you might notice if I zoom in a little bit, everything is very noisy. Let's change that by checking the box next to D noise. And now everything will look a lot more smooth. Now that we have our render engine and settings set up, let's actually add an HDR to light up our scene. An HDR stands for high dynamic range imaging. What it is is it's a 360 degree of an environment, which includes the sun, trees, clouds, whatever the environment is when the photo was taken, and that will influence the look of your scene. Now, there are a lot of websites that give you free HDRs. Now there are a lot of websites where you can get HDRs, but the one that I recommend is Polly Haven. They produce very high quality HDRs that are absolutely free. If we go to polyhn.com, we can select the brows HDR button down here, and then we can see a bunch of different ones that we have to download. If you want to use the same one I'm using, it's this one right here. It's the clue Fendl 43 D clear. This I found looks really nice. The sun is very bright, which gives us a very harsh shadow, which I think looks pretty interesting. Go ahead and browse the website, find one that you like, and then you can download it. Now there are a couple of different resolutions to choose from. You're not going to really be able to see the HDR from the camera. It's going to be very blown out. You don't really need anything higher than two k. But if you want to, you can download the higher res versions. Select the version, select the resolution that you want, make sure it's set to HDR, and then download it right here using this button. Now, jumping back over to Blender, let's import that into our scene. We can do this by jumping over to the shading workspace at the top. Down here is where all of our nodes are going to be set up. But first, we need to switch it from object over to the world nodes. Here we can see the background. Let's jump back into camera view by hitting zero on the number pad. We'll press z and then go into the rendered view. Here is what our background looks like. If we turn the strength up, it's going to brighten up our scene as you can see there. We can also change the color. What we'll do is we'll import that in and plug it into the base color of our background node. I'm going to press shift A and we need to go over to texture and then select environment texture. We'll place that here. Going to take the color output and plug it into the color of the background, and you'll notice everything turns pink, and that's because there's no file attached to this environment texture. Let's click on Open and then navigate to where it is. Mine is right here, so I'm going to select the HDR and then click on Open image. Once we do this, we can see it in the background, and that is looking pretty nice. If I zoom out here, this is what the environment texture looks like. It's a 360 degree image like I had said, and everywhere we can see that the lighting is affecting our scene. What I want though is I want the sun, which is right about there. I want this sun to be positioned at the window, so it's actually shining inside. To do that, we need to change the coordinate of our texture. I'm going to press shift A and go over to input and then a texture coordinate node right here. Let's place that over on the left. Next, we're going to press shift A, go over to vector, and then add an mapping node. We'll place that here. We're going to take the generated, plug it into the vector, and then the vector is going to go into the vector of the environment texture. Now all of these value control what the environment texture will look like. For example, if I bring the scale up, it's going to scale the environment on the x axis, which makes it look crazy, as you can see. Not going to mess with the scale, but what we will mess with is the rotation. If we rotate it along the z, it's going to rotate the HTR. Let's go over to right about here and rotate it until we see the sun. Keep going and then right about there. So the sun is going to shine right on the window. Let's check it out in the camera view by hitting zero on my number pad. There we go, we have a much harsh, stronger shadow. We have a much sharper shadow shining into the room. We can play around with this. You can rotate it based on what you want. I might go something like that, I think looks pretty interesting. Somewhere around there will look pretty good. Of course, we can change this later once we actually have all of the furniture and we see what the shadows will look like. And there we go, we've now added the HDR to our scene, and that's creating some very dynamic looking lighting and shadows. For our final render, we're going to set the strength of this much higher. But for now just so we can see the modern interior, we're going to set this up to around five. Then once we do a final render, again, we'll change this up a lot stronger. But there we go, go ahead and save your project just in case blender crashes, and then in the next video, we're going to set up the material for our wood floor. 8. Creating the Wood Floor: In the last video, we set up the lighting for our scene, and now in this video, we're going to create the first material for our objects, and that is going to be the wood floor. The first thing that we'll do is we'll separate the floor from the walls and ceiling. We can do this by selecting our object, going into edit mode. I'm going to deselect everything by hitting A to A, and then make sure I'm on Face select mode up here. With the bottom face selected, we're going to separate this as an object. I'm going to press P on my keyboard and then click on selection. Now, if we go out of Edit mode back into object mode, we have two different objects. We have the walls and ceiling right here, and then we also have the floor right here. Jump over to the modifier tab because we're not going to need the solidify modifier and the Boolean, since they were and one object at one point, it shared the modifiers. So go ahead and remove both of those. Next, we're going to enable two things in the user preferences. I'm going to go over to edit down to your preferences right here. The first thing that we're going to do is go over to the Key Map tab and then turn on extra shading Pi menu items. I'll show you what that does in just a second. Next, we're going to go over to the add ons tab, and in the search bar, we're going to enable an add on that will allow us to work with nodes and materials much easier. That is the node regular add on. Make sure that is enabled, come down here to your preferences and then save them. First off, what the extra shading Pi menu items does, if we press the z key on our keyboard, we have a couple more options in our Pi menu. That is Togo overlays and toggle x ray. Toggle x ray allows you to see through your objects as you can see there, which is pretty useful for selecting objects behind other objects. The other one is the Toggle overlays. What this does is it gets rid of all of the different overlays that are in your scene. This includes the outline for your objects, empty objects, camera objects, the grid floor even. You can see this if I go Toggle overlays, all of that disappears and we have a very clean viewport. This can be useful for seeing what your object looks like. If you have a ton of different empty objects, all that stuff can get very cluttered in the viewport. Doing that, we'll just make everything disappear, and you can only see your mesh objects. Now, let's get onto the materials. With our floor selected, we're going to create a new material. We can do this by jumping over to the material tab, deleting the default material, and then creating a new one by selecting the new button. Let's call this wood floor. Next, I also want to name this object. Over in the outliner, we're going to double click on the walls right here, and we're going to call this floor, so we have everything organized. Now jump over to the shading workspace right here, and then in the bottom menu, we're going to switch it over from world over to object. Now we see the notes for our object that we have selected. Make sure that the wood floor is the object that you selected. Here is our basic material. We have the principle Chatter, which is the default thing once we create a new material, and we have a lot of different options down here, such as the metallic ness of it. If we turn this up, we turn the roughness down, we're basically going to create a mirror, as you can see there. We can also change the Alpha of this. If we want it to be semi transparent, you can do that. There's a lot of customization built in just the principle Chatter. You can also change the color if you wanted to using the color option. But what we're going to do is we're actually going to add a bunch of different textures and plug it into this principle shader. Of course, where we're going to get it is Paula Haven once again, because they produce very high quality textures. On the website, we can click on Borrows textures and jump over to the wood options here. There's a bunch of different ones that you can choose from. If you want to use the same one I'm using, it's this one right here, the laminate floor 02. Over on the right side, you can choose the resolution that you want. To K will work perfectly fine, but if you want even more detail, you can go up to four k, but that's not really necessary. Make sure the file format is set to blend right here, and then click on download. Now jumping back into blender, let's add those textures that we just downloaded into this material. We can do this by adding in an image texture note. I'm going to press Shift A and go over to texture, and then add in an image texture. We'll place that right here. We'll take the color, plug it into the base color of the principled shader. Then click on pen. From here, you're going to navigate to where your texture is minus in this folder, and then it's the am floor two K, go over to textures, and then here we have all of the textures that we just downloaded. On that we want is the diffused one right here. This is for the color. Go ahead and select it and then open image. There we go, we can see it in our viewport. Now, there's a couple issues with how this looks. Currently, the wood grains are going in the wrong direction. They're going horizontally, but I want them to go vertically like this. Also they're way too big. Now, a couple of minutes ago, we downloaded the node regular add on. This add on makes creating materials very, very simple. If we wanted to change the rotation and scale of our texture, we would have to do the same thing that we did for the HDR, which is add in a texture coordinate node and a mapping node. Now, this can get annoying because you're constantly doing this for all of your other materials in your scene. Thankfully, with the node rengular addon, there's actually a shortcut to do that. If we select our texture right here and press control or command T while hovering over it, it will automatically add those nodes for us. From here, we can play around with the rotation just like this by changing this up to 90. There we go. We now have the wood grains going in the correct direction. Now, before we continue, I'm also going to show you another feature for the node regular add on, and that is adding all the other textures automatically with one click. What I'll do is I'll actually select these three nodes and delete them. With the principal Shader. We're going to press control shift T while hovering over it. This is also a feature in the node regular add on. Next, go to your textures, where the folder is, mine is right here. Go over to textures. Then what we'll do is we'll select all of these textures except for the displacement. G holding Control. I'm going to deselect that one. We're not going to need that for our scene. And then click on Principle texture setup. This will automatically add all of those textures and put them in the correct position in our principled shader. You can see the roughness, which we'll talk about in just a second is plugged into the roughness. The normal is plugged into the normal map, which is plugged into the principle shader. All of that was automatically created with one click, which is very useful and significantly speeds up your workflow. Make sure to remember that, the shortcut is control shift, and then T while hovering over the principle shader. Now let's talk about these different textures. We talked about the color already, which is the base color. You can see it over on the left right here. This is just what the texture is going to look like. The one beneath that is the roughness. This is a black and white texture which controls how glossy and reflective the wood material is. If we zoom in on the left side, you're going to see white and black values. The white values means that it's very rough and it's going to have no reflection. Then the darker values, the grays, the blacks, all that, there is going to be reflection. Then beneath that, we have the normal map, which controls the bump. Let's take a look at this by zooming in. With the normal map selected, I'm going to uncheck this and you're going to see everything looks very flat. But once we take the normal and we plug it in right here, we get a lot more bump. As you can see here, there's more shadows in the texture. We also need to select the UV map so go ahead and select the UV map that we've just created. Then with the strength value, you can control how strong this normal map is. If we go very high, you can see it's extreme. We're not going to go this high. I found that a value of maybe one, maybe 1.5 to two will work pretty good. You can play around with this and find the look that you like. I'm going to go with the value of 1.5. Next up, let's go ahead and fix the rotation like we did before. Underneath the z rotation, we're going to go up to 90. Then for the scale options, let's go all the way up to around five. This will scale down the texture. As you can see there, now we have smaller wood grains. We may even want to go a little bit higher. Let's go up to six. The higher you go, the smaller the texture will become. I think that is looking pretty good. You can also press z and go into material preview to see it a bit better, and that is looking really nice. Now, we could stop there, but I'm actually going to go even further. I'm going to change the color of this, and I'm also going to change how reflective it is. First off for the color, I'm going to press shift A and go over two color and then add in a hue saturation node. We'll place that here. This node changes the overall color of whatever's plugged into it. In this case, it's the base color. So for example, if we change the hue right here, it's going to change the look of the texture. Let's go with a value of about 0.48, which is a little bit lower and this is going to give it more of a reddish hue. Then beneath the value options, we're going to go much lower. Let's go with a value of about 0.2. Then for the saturation, you can go higher or lower based on what you want. I might go just a little bit lower 2.9. Now we have a much darker looking texture, which I think looks pretty nice. Then I also want to change the overall look of the reflections, and to do that, let's press shift A, go over to converter, and then add in a color ramp node. We'll place that right here. Now Another feature with the node regular add on is actually previewing different nodes. In this case, I want to see what this color ramp is doing. If I hold control and then shift and then left click, it's going to automatically take that and plug it into the material output, which we can see exactly what that texture is doing. From here, we can play around with the different values and tweak them how we want. Like I said earlier, the black values means that there's going to be more reflection and white values means that there's going to be less reflection. The cool thing about the color app is we can give some very high contrast. If we drag these close together, something like this, we're going to get some very high contrast in the texture. Now if we preview this by holding Control shift left click, we can see this is what it looks like. Now, this is a little bit extreme. We're not going to go this high for the texture. Instead, let's separate these a little bit, with the black selected, I'm just going to drag it up so it's less extreme. It's more of it's less reflective. Somewhere around there will look pretty good. Let's take a look at it in the rendered view. We'll go into the camera view as well, and we can see exactly what it looks like. That still might be a bit too much, so I might separate them a little bit more, something like this, and you can play around with it until you get the desired look. But there we go. We've now created the wood texture. Let's go ahead and save project, jump back over to the layout, go into the camera view once again by hitting zero, and then let's go into the rendered view by hitting Z, rendered view, and then we can tag overlays by hitting Z once again and selecting Tag overlays. There we go. That is looking very, very nice. Of course, this is all customizable. You can change the texture how you want, you can change the look of it. However you want to create the material, I highly recommend customizing it for your preferences. Now in the next video, we'll create the materials for the trim and everything else in the scene. 9. Finishing the Materials: So the next material that we'll create for R sine is the trim. Let's go ahead and select the trim. I'm going to press Z and togo overlays to make sure that I do have it selected. Let's create a new material, and we're going to call this trim. For this material, I'm going to just darken it just slightly set the roughness to around 0.2. This is going to give us some reflections, and that's basically all we really need to do. If you wanted to, you could set this all the way down to black. I notice in some houses that does look pretty nice, as you can see, so play around with it and choose the color that you want. For mine, I'm just going to go slightly dark and then the roughness at 0.2. For the walls, I'm going to select it and we already have the default material right here. We'll just call this walls. We're also going to darken it just a little bit and then bring the roughness to around 0.2. Then also, I'm going to give it just a slight beige color, just a tiny little bit. Somewhere around there will look nice. You don't want to go overboard because that's just going to look weird. Just a tiny little bit, and I think that will look nice. For the trim up here, make sure you select it, and in the drop down menu, select the trim color here. Now they're sharing the same material. Now if we change the base color, it's going to change it for everything that is using this material. Finally, for the ceiling, I'm going to select the ceiling, and since the ceiling and the walls were one object, they're still sharing that same material. With the ceiling selected, let's duplicate this material by hitting the two button. We'll call this ceiling. And then what we'll do here is just change the base color slightly higher. So it's more of a white. Then also, while we're at it, let's add those lights that are going to be inside the ceiling right here. We can do this by going into solid view. Select the ceiling, we'll tag overlay so we can see exactly what we're doing. In Edit mode, let's select this ring on top and assign the light material to this ring. In Face select mode, I'm going to hold the Alt KR option Keon Mac and then left click right on that loop. That's going to select the entire thing. From here, we'll hit the plus sign over on the right side, create a new material. We'll call this material light, Then for the surface, we don't want to use the principal shader. We want to use any mission shader. With this selected, switch it over to emission, and then click Assign. Now what happens is if we go into the inside of our view, look up a little bit, hit z and go into rendered view, that material is now assigned to those faces, and that's producing light as you can see. The strength of it will go up to around five or so, and then you can play with the color if you wanted to, if you want more of a yellowish color, something like that will look pretty nice. And there we go. Let's look at it in the camera view, and now we have some more interesting looks in our modern interior. For the windows, if we select it, they already have some basic materials in place right here, but if you wanted to change them, you can. Jumping over to the shading workspace, I'll show you how to do that really quickly. You can select which ones that you want. The PVC is the overall outline of the window. That is using this color right here. If you change it, it'll change what that looks like. You could switch this over to the walls to match it, which I might do just to see what it looks like. If we switch it over to walls, now they're using the same color. But I think I might leave it with just the basic PVC, which is the original materials that come with the add on, and I think I'm going to leave it as it is. But there we go. We've now added all of the materials for objects, and now in the next couple of videos, we're going to start creating models and adding them to our scene. 10. Modeling the Couch: Everyone and welcome to a new section. In this section, we're going to be adding models to our interior scene, starting out with the couch model. We're going to go step by step on learning how to create this model, marking it as an asset, and then importing it into our interior. To get started, go ahead and open up a new blend file. Right here, we have the default scene. We can go ahead and delete the lamp and delete the camera. We're not going to need them. Let's first model the base of the couch and then we'll model this seat area, and then the cushions next. With this cube selected, we're going to press n and we're going to set the dimensions over here. For the x dimension, I want it to be slightly longer along the x. Let's go with a value of 2.2 meters. For the y dimension, we're going to go down to around 0.9, and then for the z dimension, let's go down to 0.05. We have this base. Keep in mind since our interior is real world scale, we want to make sure that the models that we create are also real world, and they're not too large or too small. Sticking with these values here will give us a good baseline for a real life size couch. Next, we're going to go into edit mode. We're going to press Control R and add in a loop cut down the middle. Then right click, we're going to press Control R, left click, and then right click. Now let's delete these corners and add in a mirror modifier. To do this, we'll go into wire frame. We'll press all to e to D select, then C for circle select, and just draw circle over all of these corners. Then we can delete them by pressing x and delete the vertices. Then to add an A MR modifier, we need to go over to the modifier tab, select Add modifier, generate, and then click on MR. We're going to enable the x and the y, and now we have our cube back. The reason we added a MR modifier is because we're going to quickly model a little leg right here, and adding the Mr modifier allows us to only have to do this one time and it will mirror it along all of the different corners. To do this, we're going to press Control R, add in another loop cut, drag it over to the left right here. Then on this side, we're going to press control r again, add in another loop cut, probably place it right about there. Then underneath, we're going to go into the phase select mode. Select that bottom pase and press e to extrude and just extrude it down to give us a small leg. Then we're going to go into the edge select mode, select this edge here, press G and x and drag it to the left, and do the same thing on this side. Select this edge here, G and y, and drag it back so it's at an angle just like that. And there we go. That looks pretty good. Finally, we're going to press Control A, apply the scale to this object, and then over in the modifier tab. Let's give it some bevel to make it a little bit more realistic. Go over to generate Bevel and then bring the amount down until you're happy with it, right about there is good, 0.003, and then bring up the segments to a round three. For the seating area, we're going to add in another cube. Scale this cube down. We're going to go into EDI mode and add in another loop cut down the middle with Control R, right click, to place it in the center, and then let's just delete half of it and add in another mirror modifier. Over in the modifier tab, generate, select, mirror. For this seating area, we basically want to match the same size as our base right here. We'll just scale this down somewhere around here. Go into top view, S and y to scale it outwards, and we might make it just a little bit bigger than this base right here. Then in demode we'll drag all of these vertices to the left here until it matches right about there and maybe a little bit over. That looks pretty good. I think it's a little bit too thick, so let's drag this down right about there. Then to add in the arm rest, we're going to press Control R, add in loopcut here, drag it to the left. Right about there looks good. Let's do the same thing on the back, so place it right about there, and we want to make sure that this is about the same size this way and this way. I think this part needs to go back a little bit more, right about there is good. Then we'll go into the face select mode, select this face, this face, and this face, and just extrude it upwards. Right about there is good. After that, we're going to go into the edge select mode, select this edge here, and move it over to the right so we have an angle, and that will look pretty nice. Right about there is good. Then finally, to bevel this, we're going to select this edge here, this edge here, holding shift, and then we're going to bevel it. Press Control B to bevel. You might notice that we get some weird bevel issues, and that's because these scale numbers are incorrect. Go out of Edit mode, press Control A, apply the scale, and now those numbers should go back to one, and now we can bevel properly. Back in Edit mode, we're going to press Control B, drag it outwards, and then using the scroll wheel, let's add in a bunch of loopcuts until it's nice and smooth. About there is good. Not too bad. Then finally, let's add bevel to all of the edges. In the modifier tab, let's add in that bevel again right here. We'll bring the amount down right about there. We do want a little extra bevel because this is going to be a cushion fabric material, so we're going to have a little more bevel than what we had down here. Maybe bring the amount up a tiny bit more, and then the segments, maybe we can go up to around six, just so it looks a little bit softer. Now before this video ends, let's quickly model the cushions with a couple of different cubes. We'll add in a new cube object. For this cube, we're going to set the dimensions over here on the right. Let's go with an x value of 0.65, a y value of 0.65 as well, so it's a square, and then a z value of around 0.1. Here is our cushion. That looks pretty good. Let's drag it over to the right, and you want to make sure that three of these cushions can fit on this couch. What I'll do just quickly is shift D it one time right there, shift D it again. We can see it doesn't fit too well. What I might do is I'll just grab all of them, scale them along the x, place it right about there. Then I might just move this edge a bit more towards the left to give us a tiny bit more room. Now back in front of view, we can select all of these, make sure that they do fit. Right about there is good. And I'm happy with that result. Now we can go ahead and delete those two. For the back cushion, what we can do is just press shift D on this cushion. We'll drag it up, rotate 90 degrees along the x axis, so it's standing upwards. Then for this dimension, we're going to just change it just a bit for the y. We're going to go down to around 0.5, so it's a little bit shorter. Then finally, for the arm rest cushion. We'll just duplicate this cube again, place it over here, rotate it 90 degrees. Then for this one, all we really need to do is make it a little bit smaller along the z axis, so press S and z. Roughly about this height is pretty good. There we go. We now have our basic cushions, and in the next video, I'll show you how to actually get them to look like cushions. 11. Simulating the Cushions: Now that we have all of our objects in our scene, let's learn how to make these cushions look like actual real life cushions. To do this, we'll be using the claw simulation. Inside the claw simulation, there is an option called pressure. What this does is it basically inflates your object. Using that pressure option, we can make these three basic cubes look like actual cushions with real life wrinkles. This saves us tons of time. Instead of having to sculpt the individual wrinkles, we can just have blender calculate it for us. To get started, let's first select all of our objects and press control A and apply the scale to them. All of the scale numbers go back to one. Next, for the claw simulation to work properly, we need more geometry on our object. Right now, if we go into edit mode with the seat cushion, we can see we only have a couple of vertices along each edge. This is not going to work. We need a lot more geometry for the claw simulation to actually function properly. Now we could press A and then right click and subdivide this a couple times. But the problem with that method is we get a lot more geometry along this edge then rather on top. We want to make sure there is even geometry through the entire object. Instead of using that method, we're just going to press Control R and add in a couple of loop cuts manually. Right about here about 15 loop cuts, we'll left click and then right click. We'll come over to this side, and since this is a square object, we can just add the same number of loop cuts. We'll just type in 15, left click and then right click. Then down the middle, we will add in two loop cuts this time, left click and then right click. The main thing with these objects is you want these faces to be square faces. You don't want rectangle faces or the simulation won't look as good. You want even geometry and you also want square even faces throughout the entire thing. It that done, let's do the same thing for this object. We'll go into edit mode. Let's press Control R, we'll add 15 loop cuts, left click and then a right click. Now, since this object is a little shorter, we'll add in, let's go with 13 loop cuts. Left click and then right click. And that looks good. We can see we have square faces. Then on this side, we will add in two loop cuts, left click and right click. Perfect. Finally, this object here, we'll go into edit mode, add in 15, left click, right click. Then we'll do horizontal loop cuts. I think we'll have to do this using the scroll wheel about nine loop cuts. There, and then finally, we'll add in two along that way. Now all of these objects have even geometry through the entire thing, and we are ready to add in the cloth simulation. To get started, let's select the seat cushion first. We're going to jump over to the physics properties, enable cloth. If we restart and play our simulation, you're going to see it falls straight down. Instead, let's restart the simulation. If we scroll down here, you're going to see the option for pressure, and this is what I mentioned earlier. If we enable this and set the pressure amount, let's go with a value of about four, for example. Then if we select our base here, let's add in a collision modifier, the cushion actually collides with something. Add in a collision modifier, and now if we play it, here is the result. You can see it's starting to look like a cushion. With the base selected, let's make sure that the thickness outer is as low as it can go. There's not that big of a gap here. Next, we're going to select this object. Scroll down a little bit underneath the collisions, make sure that the quality is up to around three, and the distance is also down as low as it can go, which is 0.001. Now if we restart and play it, here is the result. And that's starting to look a lot better. One issue though is it looks very low poly. Let's add in another subdivision surface modifier on top of this to give it more geometry and more detail in the claw simulation. On the right side, we're going to click Add modifier, generate, and then add in a subdivision surface. We're going to bring this above the claw simulation and set it to a value of two. Now if we restart, we can play it, and this happens. The reason this is happening is because the subdivision surface modifier is adding more geometry. The more geometry that your claw simulation has, the more it weighs. If we select the cloth and over in the physics panel, the vertex mass. Every single vertex on our claws simulation weighs this much. This weight is too much for the pressure to handle, so it just collapse. What I found instead of changing the mass right here, we can actually change the gravity option over here in the field weights. If we set the gravity down to zero and restart and play it, now the pressure will be even throughout the entire thing. There's no weight to it, and we're getting a much better result. Another way to change the behavior of our claw simulation is to change the pressure amount. If I set this lower like a value of 1.5, for example, it's not going to expand as quickly and it's actually going to give us more wrinkles. If I restart and play it, it's going to slowly expand and give us a lot more detail. You can see this is looking a lot better. Other thing I want to change though is in the subdivision surface modifier. I want to set it over to the simple mode. This will make sure that the edges remain sharp as the stimulation is playing, which I think gives a much better result. Now if we play it, you can see this corner right here is remaining sharp, and that looks more like a cushion. At this point, we can copy all of these settings and the subdivision surface modifier to these other objects by selecting them, select this one first, the backseat next, and then this object last. If we press Control L, we can click on Copy modifiers. Now it'll copy that subdivision surface and it will copy all of the settings. I want to change though is with this object. I'm going to set the pressure amount a little bit higher because for this object, I want it to be more square, but this object, I want it to be more of like a hello. For this object, let's bring the pressure amount back up to around a value of about four. Then for the arm rest, let's go up to around a value of three. Now if we restart, let's actually drag this up a little bit so we can see what it looks like. We play our simulation and here is the results. Another cool thing with adding collision to this backseat is it gives us a really cool look for this cushion here. It automatically makes it look like it's colliding with this. Might do though is I might drag this down a little bit, drag it to the left, and then rotate it along the x axis, something like that. Now, if we play it, here is the result, That looks pretty good. Let's select both of these objects, right click, and shade them smooth as well. Now the next step is to find a frame that we like for our cushions and then apply the claw simulation. But before we do that, let's make sure to UV unwrap these objects because once we add in that fabric texture later, it's going to be a lot harder to UV unwrap this once the claw simulation is applied, so we're going to do it beforehand. In EDI mode, with these three objects selected, make sure to select everything by hitting A, we're going to go U, and then Smart UV project and then hit. From here, what we can do is we'll also duplicate these, right click, and then let's move them to a different collection. Because we're going to be applying these class simulations later, once we apply it, we can't really go back. Having duplicates will allow us to go back if we really need to. With those objects selected, I'm going to press M and move them to a new collection, and we're just going to call it backups just in case we need to go back and use them. Then from here, we can hide that collection by unchecking it, and now let's play the simulation and find a frame that we like. Starting out with the base cushion here, I think around frame 20 will look pretty good. Right about there is good. I like that. We're going to jump over to the modifier tab. Press Control A, or you can click on the drop down menu and apply the subdivision first and then apply the cloth. Then we will select this object. Let's go back a couple of frames. I think I like this frame. Around Frame 15, I like, we'll press Control A and Control A. Then for this object, let's see what it looks like here. Maybe a little bit less. Right about there. Frame 13, I think will look pretty good for this object. We'll press control A and control A. Now we have these three objects. We'll just drag them down. We'll rotate this object around this way and place it right about there. I'll drag the back rest down a little bit and then I'll drag the seat cushion forward just a little bit until it reaches right about there. And that looks pretty good. Next up, we will select all of these objects, shift D them and move them to the side, and shift them one more time and place them over here. Then we'll select this object, the arm rest here, shift D it, place it on this side, rotate it all the way around, and then place it something like that. Finally, we're going to select all of them and then add in one more subdivision surface on top of it to smooth everything out. With all of them selected, we'll press Control one, and there we go. Now, before this video ends, let's go over each of these and make them slightly different, so they're not exactly the same. For example, this one in the middle, we can actually rotate this, maybe 180 degrees, and so now it has a different pattern than this one on the left, and then maybe this one, we can rotate 90 degrees. Now they look a little bit different. For the cushions in the back, what we can do is actually just going into sculpt mode by selecting one of them, going into the sculpted mode here. With the smooth brush, we can just smooth out some of the wrinkles here like this, making them slightly different. We can go back into object mode, select this one, switch it back to sculpt mode. Then with the smooth brush active, we can just smooth out some of these, making them look a little bit different, and then same thing over here. You can also add creases by scrolling down a little bit until you find the cloth brush here, and you can click and drag and add more creases. I think the strength of this is a bit high, so let's drag it down to around 0.2 or so. Let's add in a couple of different random creases on this object. Then over on this side, we'll select this one last, sculpted mode, and just do the exact same thing. Maybe add in a couple, maybe add in a little bit in the middle, something like that, just to give some variation between the different cushions. Once you're happy with it, we can move on to the pillows. 12. Creating the Pillows & Blanket: Two more objects that we need to add to our couch. One is going to be a pillow right here, and then the other one is going to be a blanket that flops over the top of this object. Let's start out with the pelo. What I'll do is hold shift and place my cursor right at that spot. We're going to press shift A and add an A plane. Scale this plane down to be about the size of a pillow that you want. Something like that will be pretty good. And we're basically going to do the same thing that we did for the cushions. We're going to model a quick shape of a pillow, and then we're going to have blender simulate it. So in edit mode, we're going to right click and then subdivide this. We'll do this one more time to get that much geometry right there. Then what I'll do is I'll press e to extrude, we'll extrude it up a bit. And then in face select mode, I'm going to hold Alt, select this face along the edges like that. S, z, zero, and enter. Then from here, we can press M and then by distance. That's going to remove all of those duplicate vertices that are in the same spot. We can see here, it removed 32 vertices. Now what we've created is an air pocket between this face and then underneath here. Now if we use the pressure in the cloth simulation, it's going to look like a pillow. What we'll do is we'll rotate this 90 degrees along the x axis, going into top view, rotate it like this, and place it somewhere around here. We'll jump over to the physics panel, enable cloth. We'll restart the timeline, and then for the pressure down here, we'll enable it and set it up to around a value of four. If we play animation, we can see it's working, but it's going through the cushion. Let's add collision to this object. Make sure it's selected, add collision, and make sure the thickness is as low as it can go. Same thing for this object, we'll add collision, low as it can go, and then finally, this object in the back collision. Just in case it touches this one, we can add collision to this as well. Just like that. So now if we play our animation, we can see it's working, but currently, it doesn't look that great. What we'll do first is over in the modifier tab. Let's give it more geometry to make it look better at in a subdivision surface and bring it above the cloth simulation and set the level up to around two. We'll switch it over to simple as well. Since we add geometry, we need to make sure the mass of each vertex is much lower. Let's go with a value 0.03, and we'll try that out, see what that looks like. If we play it, here is the result. We can see it's still collapsing a little bit. Underneath the pressure, maybe we can go up to around six. We'll try that out, restart and play. And that's looking better. Maybe we can bring the mass down even lower, 2.01. Here basically, you're just tweaking the settings until you get something that you like. That actually looks really good. I think I'm happy with those settings. Let's right click and shade it smooth. Let's also scroll down in the settings here and make sure the distance for the collision is as low as it can go and then the quality is up to around three. Then in top view, let's duplicate this pillow, maybe scale it down a bit, and then place it right about here. I want to make sure that these two objects don't intersect with each other. Over in the physics panel, we'll add a collision to this object, and we don't really need to add collision to this one, just this pillow here. Sure that the thickness outer is as low as it can go, we'll restart the simulation and play it, and here is the result. Now, again, before we apply the class simulation to these two objects, let's make sure that we UV unwrap them. We'll restart the simulation in edit mode with both of them selected, we'll press A, go U, Smart UV project, and then hit. Once we've done that, we are ready, and also it looks like we didn't apply the scale, so let's press control A, apply the scale on both of those objects. Now let's find a frame that we like. Right about there I think is pretty good. Let's also make sure to select them both, shift D, press M and move that to a backup collection just in case we want to go back. Now let's apply the modifiers. This one, first, we'll apply the subdivision, apply the cloth and the collision. Select this one, apply the subdivision and cloth. There we go. That looks pretty good. These are a little bit low poly, with them both selected, let's press control two to add in another level of subdivision on top of it, and then we'll drag them down until they're touching the cushion, just like that. Finally, on this side, we're going to add in a blanket, Let's just add in a new plane object. This is going to be pretty simple. We'll scale it down until we get the size that we want, something like that. We'll go into Edde. Again, we need to subdivide this a couple times. We're going to subdivide down the middle. Then press A, we'll go right click and subdivide this. We'll do this a couple times until we get enough geometry. Right about there is probably good. What we can also do is rotate this along the x axis. This will give us some nice deformation when it collides with the objects here. Let's select this cushion here. Over on the modifier tab. We're going to enable collision. We'll set the thickness out to be as low as it can go. We'll select the base here that already has collision, which is good. Select this cushion, collision, set it down 2.1, and then finally, decushion in the back, we can add collision as well and set this down 2.1. For the blanket, we're going to select it, enable cloth, make sure to restart the timeline. If we play our simulation, the default setting should actually work pretty good. You might notice though that it is slipping off and what we can do to help prevent that is with this cushion selected. We can bring the friction up to around 25, and then we can also move it towards the left here. The other thing that we're going to do with this cloth is down here in the collision settings. We're going to set the distance lower, and then we're going to turn on self collision. Make sure the distance on the self collision is also as low as it can go. Now if we play it, we should get a really nice simulation. To smooth everything out, let's add in a subdivision service modifier on top of this. We'll set the view to two. You can also play around with the rotation of the plane if you want more wrinkles, just rotate it even more and then play it and you should get a different result like that. I think that's a bit too much, so I'm going to rotate it probably roughly around this angle. Now let's simulate this again. We'll play it here. It does look like we're having a couple issues in the clipping for the blanket. Way to help prevent that is to select the blanket over in the physics panel. We can set the collision quality up to around five or so. If we then restart and play it, that should help a little bit. There we go. I think that did help. We're getting a little less clipping there. If you're still getting some, you can bring the distance up even higher. Maybe we can go with 0.003. Then the same thing for the self collision, let's go up 2.03. Restart and play it, and that'll also help prevent any clipping issues. Before we apply the class simulation, let's make sure to U we unwrap this, so we'll restart the animation. Press Control A, apply the scale to the plane. Then in edit mode, we'll press U, and then select Unwrap. Now we can go ahead and play animation, find a frame that we like, and apply it. I think that looks pretty good. Let's duplicate this by hitting Shift D, then press M and move it to the backups just in case we want to go back. Then with this object selected, we'll press Control A, and then we can leave the subdivision surface. We don't really need to apply that. Finally, we're going to add in another modifier to give it some thickness. We're going to add in a solidify modifier. Bring the amount down to roughly about 0.003, 0.003. And there we go. Let's right click and shade it smooth, and now we can work on the materials. 13. Adding the Fabric Material: Couch model is looking pretty good so far, but there's a couple of things that we need to change. First off, the base here is sticking out a bit too far from the cushions here. Let's go into Edde and fix that. I'm going to select this space, this space, and this space and just drag it backwards just a little bit along the y axis until it's more in line with the cushion. Then with the base here selected, and since this is mirrored, if we try to move this, it's going to move the back ones as well. Let's just move the entire thing back a bit and then press S and y and scale it along the y, just like that. I think that looks a lot better. Now we are ready to apply the materials. For the first material that we'll do is the fabric. Go ahead and select the base here. In diode, let's UV unwrap this object, we'll press A to select everything, go U, Smart UV project, and then hit. Then let's jump over to the shading workspace. Let's create a new material, and we'll call this couch fabric. In For this material, we're going to be using a texture again from Polly Haven. This texture right here looks really good on this couch. It's a fabric texture that looks really nice. The color is not what I want, but we're going to change the color, but just the overall texture itself, I think will look really good. Link to this is in the resources. You can go ahead and select the two K version here, and then download it right here. Once you have it downloaded, we can select the principle Shader. Again, since we enable the node rengular add on in the previous video, we can hit control shift T. Navigate to where the texture is, mine is right here, the book pattern. Underneath textures, we're going to select the color, normal map, and roughness map. We don't really need the displacement. Then we'll click on Principled setup. If we zoom in here, here is the result, the texture is currently way too big. What we'll do is over here, we're going to set the scale of it up to around four, and I think that will look a lot better, and now for the color. I don't really like this green color, so let's change it by adding in a color hue saturation node and placing it here. We're going to set the saturation all the way down to zero, and then for the value, we're going to drag this down just a little bit until we get a darker fabric look. The other thing we can do is press shift a add in a brightness contrast node, we can place that here and bring the contrast down to a negative 0.1. And that'll help just to make it not so harsh while looking at it. The other thing we can do is in the principled shader. If we open up the sheen option, we can bring the weight up to around 0.2. This will give the look of fabric. It's basically going to add a little bit of sheen to the edges of the fabric, and that will look really nice, as you can see there. Other issue that I'm seeing is the texture is currently going in the wrong direction. I wanted to go horizontal, but currently it's going vertical. To fix that. Let's come over here. We're going to switch this over to the UV image editor, and then in edit mode, let's just select everything, press r to rotate, and rotate at 90 degrees, and now you can see it's going horizontally, which is good. For the rest of the objects, let's go ahead and select each one of these. Then we will select the base last, press Control L, and then click on Link materials. Now all of them should be sharing that same material. Again, the cushions on the back here have the horizontal texture. We'll select all three of them, go into edit mode, and then we'll press A to select everything, and then just rotate it 90 degrees. Now the texture should be going this way. For the blanket, let's go ahead and select it. We'll create a new material. We'll call this material blanket. For this material, we're basically just going to add in a texture, add in an image texture node. We'll take the color, plug it into the base, and then click on Open. Over in the resources, you should see a blanket texture. Go ahead and select that one, and then go open image. Right now, the texture is way too big, so we'll go into edit mode. We'll press A to select everything and just scale this up until you get the textured pattern that you like. Probably around there will be pretty good. The other thing that I want to do is give this a little bit of bump. I'll press shift A, underneath vector, we're going to add in a bump node, take the color, plug it into the height, and then the normal is going to go into the normal of the principal shader. We'll bring the strength down to around 0.5, the distance as well, and that looks pretty good. Again, we're going to open up the sheen right here and bring the weight up to around 0.4, and that will give the look of fabric. I think the bump is a bit too much. Maybe we can go even lower with the strength. Like that, that looks pretty good. Finally, we're going to selected the base right here. Again, we're going to use another texture from Pold Haven. This is a plywood texture right here. This one looks pretty good. The length of this is in the resources, or you can use any wood texture that you have. Over in Blender, we're going to select the principled Shader, press Control Shift T, and then navigate to where that texture is. Once you have found it, we're going to select all three of these and go principled texture setup. The UV map is currently not working right now, so let's UV wrap it. We'll go into EDI mode, press A to select everything and go U, and Smart UV project and then hit. There we go. Let's rotate the texture 90 degrees, so the wood grains are going this way and not up. In Edit mode, we'll just press A and then just rotate it 90 degrees. As for the color of this texture, I do want to darken it a little bit, so we'll add in another hue saturation node. We'll place it here between the color and the principal shader. And then underneath the value, we're going to go down to around 0.4. The saturation, we can go down as well to maybe 0.7, and there we go. We've now created the couch, and then in the next video, I'll show you how to market as an asset. 14. Couch Model Asset Setup: Our couch is basically done. Now let's learn how to market as an asset, so we can import it into any blend file. Before we do that, though, let's clean up our objects just a little bit. Let's select our back cushion and we can see we still have that collision modifier applied. Let's go ahead and just get rid of all of that. With each one, we're going to click on that little x next two collision to remove it. We don't really want these extra modifiers on our object. It's just going to slow things down and make everything just a little bit messy. Just go through, delete the collision for each of these objects. This one right here as well. Then finally, the one in the back here. Yeah, that looks good. Now that we've cleaned it up, we also want to make sure that the subdivision surface modifier has only a level of one for the viewport. This will also speed things up when you're working with it. This one, for example, we can see the subdivision is at a level of two. Let's set the viewport to one, but we're going to leave the render at a value of two. Also notice that the origin point for our cloth is way up here, which is annoying. Let's move it back down here. We can do that by right clicking, set origin and origin to geometry. Now the origin has moved to that point, which is good. Now we can go ahead and add in an empty object and parent everything to that empty. We're going to go into front view. We'll press Shift A and underneath empty. Let's add in a plane axis. Let's move the plane down here, scale it up until it matches the length of the legs and then place it right about there. Look on the top view and make sure that it's right in the middle. Then we'll press A to select everything, make sure the empty is the active object, we'll press Control P, and then click on object. Now if we select the empty and move it around, it's going to move everything. We can still individually move these objects around, but it's really nice having one central object to select to move everything all at once. At this point, we can go ahead and come over to the collection. We can select the collection. We'll double click on it, and we'll call it Couch model. This is going to be the name of the asset when we look at it in other blend files. Make sure to name the collection what you want this model to be called. Once you've done that, we can right click on it. Then click on Mark as Asset. Now what we need to do is save this blend file in the folder that has all of the other assets and models that we want to import. Before we do that though, make sure that you come up to file down to external data and then automatically pack resources. This is going to pack all of the textures, all of the other external things that we imported into this model. It's going to pack it in this blend file. This will allow you to upload this model to different three D model websites or send it to a friend, whatever, and it will still retain all of the texture data. You've done that, we're going to press Control Shift S. We're going to navigate to where the model folder is. Mine is right here. It has all of the other models as you can see. We're going to call it Couch Model Tutorial, and then click on Save As. Now in the next video, I'm going to show you how we can get all those models and how we can set up the asset browser. 15. Using the Asset Browser: Hello over one. In the last video, we created the couch model and marked it as an asset. Now we're back in the modern interior scene, and let's import that model that we just created. So first, we need to set up the asset browser, and I'm going to show you exactly how to do that. Over here in our scene, we're going to go up to the edit menu down to our user preferences. You're going to want to come down to the file paths option right here, and then here is where our asset library is located. What we need to do is find the folder where we saved our couch model and where all of the other models are saved. To do this, we can hit that plus sign to add in a new location or a new asset. We're going to go over to the folder and yours is probably going to be different from mine. Mine is going to be in this folder, I'm going to select it, and then underneath the models folder, we'll select this one and then click Add Asset library. We can see it right there, and this is the file path to that folder. We can rename it by double clicking on here, and we're just going to call this interior models. Once you've done that, come down to the bottom and then click on Save User Preferences. Now, whatever is in that model's folder should show up in the asset browser. Now to actually get the asset browser, we're going to open up a new window by coming up to the top right, clicking and dragging to split the view. Let's switch it over to the asset browser over here on the right. Then if you select this menu on the top left, you should see all of your asset folders right here. The one that we just created is the interior models. If we select it, there we can see all of our models. All we have to do now is just click and drag into our scene and it will automatically add it in. What we'll do first is we'll select the couch model, which is this one right here, this is the one that we created in the last couple videos. Actually, before we do that, let's organize our scene a little bit. Over on the right side, I'm going to collapse this collection and rename it, we're going to call this main. Since this is our main collection with our walls, floors, and all of that. We'll then create a new collection and this is going to hold all of the models. Let's right click and then select new collection. For this collection, we're going to call it models. This way that we keep everything organized and we can render individual layers if we want to. Make sure that you have the models folder selected or the models collection selected. Then with the couch, we're going to click it and then drag all the way into our scene over here, and it should paste it in just like that. Since we added those textures and we saved to that file in the last video, all of the textures should automatically be applied even if you move the textures around in your folders. Now what we can do is I'm just going to move this order to the side so we can expand our view a little bit. We can select it, we can rotate it and place it how we want. One thing to keep in mind is you can't really edit this anymore because we imported it in. If you want to be able to edit it and change the material and all that stuff, what you need to do is press Control or command A, and then click on Ma Instances real. I'm just going to do this real quick to show you how it works. Now all these are individual objects that we can edit and move around and then change the material, how we like. However, doing this will cause the blender file of this modern anterior to become bigger since it's no longer links and it's in this blender file. If you want to save on RAM and the size of the file, you can go ahead and just link it in without having to change it. There we go. What I'm going to do is I'm going to rotate it along the z axis by 90 degrees. And if you hold control, you can place it right there. Then we can drag it down until the empty just barely disappears right about there or so, and now it should be perfectly in line. Then we can move it along the x axis by hitting G and x and place it up against the wall, somewhere around here. Now, at this point, you want to think about where the position of the furniture is, where your camera is going to be looking, and you want to tell a story. For example, we don't really want the couch to be right in the middle of the scene. One, because it's just not very convenient, and also it makes the people sitting on the couch a little bit uncomfortable. Since there's a walkway behind them, it's like a subconscious thing that having your back to someone or someone's behind you while you're sitting down, it just makes them feel vulnerable. What we're going to want to do is put this against the wall so our people that are living in this house feel comfortable, and it also looks a lot better. Somewhere around there is pretty good. Again, we can change this whenever we want once we add in the rest of the models. Let's go back into our camera view and see how this looks now. I'm going to press z and go into the rendered view. Then we can press Z again and tag overlays to see exactly what this looks like, and that is looking pretty nice. We have the rest of the models in, it'll look even better, and we'll go over that in the next video. 16. Adding the Bookshelf & Books: Let's continue adding the rest of the models into our scene, starting with the book shelf. So I'm going to select it, click and drag and place it in our scene. We can see here that we can actually place it anywhere in the scene based on the box right here. Let's place it right in the middle. Then we can rotate it and place it how we want. I'm going to press R, then z, and holding Control. We're going to rotate it 90 degrees and then place it next to the couch, but on the right side, somewhere around here. Once we've done that, we can add in the books, select the books model right here, click and drag, and then we'll just place it right in the middle of our scene. Now, one thing that we're going to need to do is make this instance real, so we can actually move and rotate the books how we want. Before we do that though, let's just align it in. I'm going to rotate it 90 degrees once again. We'll drag it backwards right about here and drag it over to the book shelf. Now, to make things a little bit easier so we can see this, what we'll do is we'll hide the main collection by hitting the e right there. We just have our models collection. Next, what we can do is go into side view and then place all of the books how we want. I'm going to press Control A, and I'm going to make this instance real, so all of the books are now individual objects, and then we can go ahead and delete that empty object. We're not going to need it anymore. If we press z and go into the material preview, we should be able to see what the books look like as you can see there. Then at this point, all you really need to do is just move them and place them all along the bookshelf however you like. Starting out with, I'll grab this one, I'll place it right about there, maybe rotate it just slightly, something like that. We'll grab this one, place it over here. And then just do this for the rest of the shelves, and you can also duplicate these books if you want to and then make sure that these actually are on the bookshelf and they're not floating. Something like that will be pretty good. One more right here. Then we can just continue this for the rest of the scene. All right, that looks pretty good. So now what we'll do is we'll go into top view by hitting seven, box select all of these, and then just move them along the x axis until they're inside the bookshelf. Now one thing to keep in mind is that you don't want the same book to show up twice on this shelf because this is where the camera is going to be looking. So we have, for example, like this book right here, We don't really want that because they're the exact same book. We want to make sure that there's different books that are showing in front of the camera. You won't really be able to see the other books that are duplicated, but make sure that the ones that you can see very clearly are not the same ones. We're going to do one more and I want this to actually la flat on the book shelf. Let's just select this one, for example, R then x, rotated 90 degrees, and then we'll move it down a little bit and then place it right here on the bookshelf. Something like that, maybe rotated around. I think that will look pretty nice. There we go. Let's bring back our first main layer by hitting Shift one. We'll go into rendered view now to see what the books look like, and that is looking pretty nice. 17. Finishing Up the Models: Our interior is coming along great, so now let's continue on with adding the rest of the models into our scene. Since we already know how to add in models, let's quickly go over the rest of them. I'm going to go into solid view, and then in the top right corner, let's go ahead and split this view and switch it over to the asset browser. Over on the left side, we're going to go over to our folder, which is the interior models, and now we can see the rest of them are right here. First off, what I'll do is we're going to place the rug right here, this rug model, let's place that in the middle of our scene right in front of the couch. I'm going to click and drag and then place it right here. Now a quick way to move objects around your scene and to snap them to different locations is if you come up to this menu, you can select the face projection. Now what happens is five press G to move, and then I hold control, I can snap it to the floor. We will notice though that this is slightly inside the floor. What we'll have to do is just place it right here holding control, and then drag it up just slightly so it's above the ground floor, just like that. Next up, we're going to grab the modern coffee table, click and drag and place it in our scene. That's looking pretty good. Let's do the same thing, press it G, then z, to lock it to the Z axis, holding control, we'll snap it to right where the rug is. Then we'll rotate it 90 degrees and then place it right about here. That looks pretty good. Let's go into the top view just to make sure everything lines up properly. You can press seven on the number pad. We'll go into the wire frame view, and we can see that it's slightly off center, so we'll place that right there, select the coffee table, and then place that right in the middle of the rug. That looks a lot better. Then what you'll want to do is just double check, you can zoom in. We can see it's slightly floating, so let's drag it down until it's right about there. That looks great. We're going to place this ro co remote right on top of the coffee table. We'll just click and drag, place it right there. Again, we'll press G and Z, and then holding control, we can snap it right on top of that coffee table. Then we can press G and Z, rotate it a little bit, and Another tip to move an object, but not move the height is if you press the G key on your keyboard, if you press Shift Z, it can move it like this. It's not moving along the z axis, but it's moving along the x and the y at the same time. We can see though, it's slightly inside, so let's just drag it up until it's right on top. Moving over to this side of the room, we're going to click and drag the TV stand and place that in the middle of our scene. We're going to rotate this until it's basing this way. Then press G and z, holding control. We can snap it to the ground floor. We'll move it backwards and then place it right here. Let's go into the top once again and double check that it's in line with the couch. Right about there is good. I'm going to want the TV stand to be right here right in front of the couch, so it's easy to view. Speaking of which, let's grab the TV model, click and drag and place it in our scene. Let's rotate this, so it's facing the couch, G and Z, control and snap it to right there, and then just move it backwards along the X axis. Next up. Let's come over to this corner over here next to the book shelf. We're going to grab the potted plant, drag it in and place it in our scene. G and Z, and then place it down here, and then move it to right about there looks pretty good. Again, you can customize this however you like. If you want to change the layout of your interior and move the models around, it's completely up to you. Or if you wanted to add your own models, you can do that as well. We're going to drag this ottoman right in the middle right here, G and Z, move it backwards, and then place it something like that looks pretty good. What I might do actually is I want everything to be moved a little bit to the right. I want the bookshelf to be slightly closer to the plant. What we can do to move everything is in the top view, Let's press Z, going into wire frame. I'm going to press B for box select and just draw box around all of the models. If you accidentally select something like this potted plant, you can press the B key again and using the middle mouse button, you can drag over it and that's going to deselect that object. F here, I'm just going to move it a little bit closer to the window. Something like that will look good. Moving on from here, let's grab this potted fern, and let's actually place this in our bookshelf. So we're going to select it, and then just place it in our bookshelf. I'm going to hold Shift and then right click to place my cursor right on that bookshelf. And now if we want to move this to that spot, we can press Shift S and go selection to cursor. Another way to do that is in the object menu down to Snap, and then go to the selection to cursor, and that's going to move it right to that location. Can zoom in on it by hitting the period key on our number pad and currently, it's really big. So let's just scale it down a little bit and then move it a little bit forward, something like that. Next up, on this bookshelf, I want to drag the modern sculpture and place it there. We're just going to click and drag into our scene, shift, right click, to place our cursor there, and then object down to snap and selection to cursor. Again, this is a little bit too big, so we're going to scale it down and then rotate it something like that. That looks pretty good. Finally, over on the left side of the couch, let's drag this glossy lamp and place it right here. Click and drag, we'll place it in the middle of our scene, snap it to the floor, and then rotate it until the lamp is over the couch. Something like that will look pretty good. Now if we look over on our models, we have a couple more that we can add. Let's drag the modern lamp. Let's place that over here in this corner. Just click and drag, place it right there, drag it down. I'm going to want the cord to be hidden, so I'm going to rotate it around something like that. We'll drag the circle chair as well. We'll place this in the corner and we'll drag it down and then move it into place. Then finally, the last model that we can add is the modern ceiling light. Let's go ahead and click and drag into our scene. We'll go into the top view once again to align it with the coffee table, so we'll place it right about here. Then drag it up until it's touching the ceiling. Right about there is good right there. Now let's go into the camera view. Do double check what this looks like. I'm going to go ahead and close off this panel. Then in the camera view, we're going to press Z and go into the rendered preview. Now, since we just added all of those models, it might take a second to properly render. But once it's done that, we can see our interior is looking really good. Now, again, feel free to change this up, add your own models in if you want to play around with the position of the models. Go ahead and do that as well. Customize it for your preference. In the next video, we're going to come over to the side right here and then add a canvas. 18. Canvas and Mirror: In the last video, we finished adding the rest of the models into the scene. Now in this video, we're going to be adding in a couple of decorations, starting out with a canvas above the couch, and then we're also going to be adding in a mirror over on the right side. Let's do the Canvas first. Over here on the couch, we're going to press shift and then right click to place our cursor right there, and if you don't see it, make sure you t go overlays. There we go. Then let's add in a cube object. I'm going to go over to mesh, and then add in a cube. Then you can press S and y, scale it to be a little bit skinnier, something like this, and then make sure it's pretty flat. About the size of a canvas. Something like that looks pretty good. Next, we're going to go into the edit mode. Go into face select mode by hitting three, and let's delete the back face. Select the back face right here, press x and delete it. Next, what we're going to do is we're going to UV unwrap this. First off, we need to add in a couple of different seams. Again, we talked about UV unwrapping in a previous video. But what we need to do for this object is we need to add in cuts right along these corners. All of these faces flap upwards. In the edge select mode, let's select this edge, this edge, and then on the other side, we'll do this as well. Then to add in a seam, we can press Control E or command on a keyboard and then select the Mark Sam option. I'll change it to a dark or red color like that, and that is looking pretty good. I think I want it to be just slightly skinnier along the y, right about there is perfect. Then what we can do is back in dibode. I'm going to select everything, press Shift D, and then move it to the left side. We'll do the same thing on the right, suppress shift D, and then move it towards the right, along the y axis. Right about there is good. If we press the N key, we can see that the scale numbers are completely messed up. Let's go ahead and apply the scale, so all of these go back to one and it will UV unwrap properly. With it selected, we're going to press Control A or command A on a MAC and then select scale. Now the numbers are back to one, and now we can UV unwrap this. You can do this by going into edit mode, selecting everything, pressing U and go Unwrap. If we go out of edit mode, we can see what this looks like by jumping in to the UV editing workspace right here. This is what our current UV map looks like. This is perfect. Now what we'll do is we'll apply a texture to this. Once we do that, the texture will actually wrap around the sides right here, which is way more realistic. Let's jump over to the shading workspace right here and create a new material. Make sure you have your object selected, and we'll call this material Canvas. Over on the left, we're going to add in a new texture and feel free to find an image that you want to add. Or if you want to use the same one I'm using, it's in the resources. Underneath texture, we're going to go image texture. Take the color and plug it in. Then click on Open. Navigate to where your textures are. Mine is right here. It's a image of this bird. We're going to go open image. Now if we press z and go into the rendered preview, we should be able to see that texture applied. Now, currently, it's way off. You can see it's not in the right position. Over here on the left side, we're going to switch it from the image editor over to the UV editor. And go ahead and get rid of that image. We're not going to need it there. If we go into EDA mode, we can see our UV map. Now, an easy way to align this is if we select that image and place it here. We can see this image right here is called desktop, and then it's a bunch of numbers. In this drop down menu, let's type in desktop and then select it right here. We can press A to select everything. We can scale our UV map along the y axis and drag it upwards. Something like this. Now, there is another problem. We can see that the UV maps are not in the correct position. Let's go ahead and fix that. This side right here, this needs to be on the right, and then this one right here needs to be in the middle. What we can do is hit the L key while hovering over the middle one. That's going to select everything. Let's drag it to the right, somewhere around here. Then we'll press to A to D select, then L to select the other one and drag this one towards the middle. Let's line it up right there. Then we will select this one again and line this one up right there. And there we go, now everything is lined up properly. Now for the material, we don't really need to change anything else, but for the roughness, we're going to drag this up to around 0.9. Then also, let's just add in a little bit of bump just to make it look like it's actually painted on a canvas. We can do this by adding in a texture and then a noise texture. We'll press shift A. We will add in a bump as well. Underneath the vector, we can add in bump. Let's take the factor, plug it into the height, and then the normal is going to go into the normal of the principled shader. Now currently, this is way too strong. You can see the bump is crazy. Let's drag the strength down to around 0.05, and then distance down 2.5 as well. To see what this looks like, we can control shift left click with this selected. Remember, since we added in the node regular add on previously, this will automatically plug it into the material output. Now, our noise is still way too big. O on the scale here, let's drag this all the way up to 200. We can see this is looking better, but it's still a little bit too big. Maybe we can go up to around 400, and that is looking a lot better. Let's bring the strength up to 2.1. Now if we take a look at the texture, that is looking pretty nice. Let's jump back over to the layout workspace, and the last thing that we will do with our Canvas is add in a little bit of bevel. Over on the modifier tab, we're going to select to add modifier, generate, and then select Bevel. The amount we can set here, let's drag it down to around 0.008, and then you can bring the segments up to smooth it out. Next up, we're going to come over to the right side. We're going to add in a mirror object. Let's place our cursor right there by holding shift and then right click, and then we'll press shift A and add in a cube object. Let's zoom in on it with the period key, ski it along the z, and then something like that will look pretty good. We don't really need to do too much with this object. All we really need to do is over in the material tab. Let's create a new material. With the metallic, we'll drag it all the way up to one and the roughness down to zero. If we look at the preview, this is going to create a mirror material. Then again, we'll press control A, apply the scale to it, and we'll add in a little bit of Bevel as well. In the modifier tab, let's slight Bevel, set the amount 2.005, and then bring the segments up to around three. There we go. That looks pretty good. Also, a good thing to do with all of your materials is to name them. So let's name this material mirror just to make sure everything is organized. And now let's take a look at it in the camera view. We'll price zero, then z, and go into the rendered preview. 19. Creating the Curtain: Hello everyone. Our interior is coming along really good, but now we're going to add in some more detail. In this video, we're going to be using the claw simulation to create some curtains for our window. To get started, let's first create a new collection so we can work with a blank scene. Over on the right side, we're going to right click and then create a new collection. Let's call this collection by double clicking on it. We're going to call it curtains. A fasts way to go to that collection and hide the other two is if we press three on our keyboard, and that's going to hide those other two, but keep the one that we selected active. Now let's add in a new object. We're going to press shift A and add in a plane objects. Let's rotate this 90 degrees along the x axis, so it's standing upwards, and then let's make sure that we apply the rotation. I did that by hitting Control A and then selecting rotation. Now for the dimensions, let's open up the properties tab and take a look at the dimensions on the right side. For the z dimension, I want this to be about the size of our interior. Let's go with a value of about 2.74 and enter. As for the x dimension, let's go down to a value of 1 meter. Now we have this shape. Then make sure we press control A and apply the scale to this. The scale numbers go back to one. With the claw simulation, it needs geometry on your mesh to actually simulate properly. Right now with only the four vertices on each of these corners, it's not going to simulate at all. We need to add more in the middle. We can do this by first going into Edit mode by hitting tab, and let's press Control, let's add in about 13 loop cuts or so, somewhere around there. Then let's left click and then right click. Now, before we add loop cuts down the middle, what I want to do is actually create the curves in the current. We can do this by selecting, going into the edge select mode by hitting two. We can select every other loop right here and then just move them backwards. Select every other loop, then I'm going to press G and y and drag it backwards until we get something like that. That looks pretty good. Then from here, we can press Control R and add in a bunch of loop cuts. You're going to want to go all the way up until you get square faces on your mess right here. Let's zoom in here. We'll press Control R again and using the scroll wheel, let's go up until we see right here that this looks like a square pase. Right about there is probably good. Then we can left click and then right click. We want to make sure that we're working with square faces, because if we work with rectangle faces, it's not going to really look that great when it's trying to simulate. Square faces are the best way to go when working with simulations. Then we're going to select everything and we're going to subdivide it one more time to give us even more geometry. You can press A to select everything, right click, and then subdivide. Next up, let's press shift A. We're going to add in another plane, and this is going to be the collision for our curtain. What I want to do is first go into edit mode and select this outside edge, and this is going to act as the wall or the window. Want to make sure that the curtain doesn't really go out this way when it's colliding with the ground floor, but instead comes out this way, Let's add in a wall. We can do that by selecting that edge, pressing e to extrude, and then let's lock it to the z axis, something like that. We don't really need to go too high, and then we'll move it to where the curtain is going to be next to the window. Right about there is probably good. Now let's add in all of the physics. First off, for the collision object, let's go over to the physics properties. It's this panel right here. It looks like a circle with the dot. We're going to select collision, then we're going to leave the default settings. Select the curtain next, we're going to go cloth. Then what we'll do is we'll first set the steps a little bit higher. Let's go around probably eight, and that will give us a better simulation. Everything else should be pretty good. Maybe the bending, we can go down to around 0.2 for both of the dampening and stiffness. This just helps the cloth deform a little bit better so it's not as stiff. We're also going to add in a pin group. The top stays where it's at, but then the bottom can flow however we want. To do this, we need to add in a new vertex group. We're going to jump over to the object data panel. It's this triangle right here and then create a new vertex group. Then in edit mode, we need to assign this vertex group to the top row of vertices. Let's select it by holding the Alt key and then left clicking right on top. On the right side, we're going to assign it. To see what this looks like. We can go into the weight paint mode up here on the top left, and that is what the pin group looks like. Now let's assign that vertex group to be the pin group in the cloth simulation. Back over in the physics properties underneath the shape menu, we're going to select that pin group right here. Now those vertices will not move, but everything else will, and that's exactly what we want. Finally, underneath the collisions, we're going to bring the quality up to around four, and then we're also going to turn on self collision. The cloth actually collides with itself. The distance, let's just go down a little bit to 0.01. Now, let's go ahead and simulate it. If we come over here and hit the play button, we can select our collision object and drag it upwards, and you're going to notice it's starting to collide with the cloth, which is really nice. However, I want it to go out this way just like that. What we'll do is we'll just bounce it around until we get the deformation that we like. Something right there is probably good. And that looks really nice. To make this look even better, let's add in a subdivision surface modifier. Select your cloth, jumping over to the modifier tab, let's create a new modifier, generate, and then select the subdivision surface. We'll set both the view and render to two, and that looks a lot better. Now one thing to keep in mind is that the subdivision surface needs to be below the cloth simulation. If it was above the cloth simulation, the cloth will actually take into account that extra geometry and try to simulate that, which will really slow down your computer. Make sure that it's below. Then also we're going to be adding in another modifier, a solidify modifier, just to give it a little bit of thickness. Let's set the thickness down a tiny bit more. Let's go 0.005. Something like that will look good. Then we can also right click and shade it smooth. Now, before we apply this claw simulation, let's duplicate this object just in case we want to go back. What I'll do is press shifty on it, then right click to cancel that movement, and then select the original mesh. Let's come over to the right side and select this menu here and then apply the claw simulation. Now we can move it around and place it how we want, but we still have this just in case we want to go back. Now I'm going to select this object, press the M key, and let's move it to the models collection, and then we can hide the curtains collection by hitting that little checkbox right on the side. To bring back our main collections, we can hold the shift key and press one, and then press two, and now everything is back in our scene. What we can do next is just move this into place. I'm going to place it right about here, and I'll scale it down just a little bit because it is a little bit too big, I think, and then make sure that it's sitting on the ground floor. We'll zoom in and double check that it's not inside. There is good. If you notice that it's a little bit too short, what we can do is just scale it up along the Z axis just a little bit until it reaches the correct height. Right there is good and not too bad. Let's move it backwards until it's right next to the window. Might skillet along the x just a tiny bit more, and then maybe along the y as well until we get that sort of shape. And I think that is looking really nice. Then just double check that it's not clipping inside anything. It looks like it is clipping inside this plant. So I'll just move that a little bit backwards until it's not clipping. And then it looks like it's clipping there. So let's go forward just a tiny bit. As for the other side, what we'll do is we can select it and then just duplicate it over. You can stimulate another cloth if you want to, but I don't think anyone will really notice if we just duplicate it. What we can do though is press Control M, and then we can press the x key, and that's going to mirror it along the x axis, so we get this look. I think that looks a little bit better, and then I'll move it over to the side. Now, before the video ends, let's quickly model a railing that goes across here to hold the curtains up. We can do this by adding in a new cylinder. Let's rotate this 90 degrees along the y axis, so it's horizontal and then just scale it down. L et's go into diode and move it to the right side and drag it up until it's at the height that we need. Then let's also add in a mirror modifier. We only have to do this one time. Add an A Mr modifier. Make sure that we press control A and apply the rotation, and it should snap to right there and make sure the access is set to x. Then in top view, let's just position it. In Edemde, I'm going to place it right here. We'll select this set of vertices, drag it this way. Make sure clipping is enabled, so it stops there. Once we get to the edge right here, we can press e to extrude, right click, scale outwards, and then eo extrude one more time. We get this like little bump right there. That looks pretty good, I'll drag it down, and everything is a little bit too thick, so I'll go into edit mode, and then I will select that middle railing by going into the face select mode. We can select that middle railing, and just press S, shift x to scale it along the x and y, and make it a little bit smaller. Something like that is pretty good. Then to attach it to the wall, what I'll do is I'll move this over to the right side. Select a couple of faces on the back right here. Like probably three faces, maybe four faces, and press e to extrude and just extruded back until it reaches the wall right there. And that looks pretty nice. And there we go. In the next video, we're going to create the materials for our curtain. 20. Curtain Material: In the last video, we added in the curtains to our scene. Now let's give it a material. Let's jump over to the shading workspace on the right here and then select the curtains and let's go back into the camera view. For the curtains, we're going to create a new material. We'll call this material curtain just to make everything organized. With this principle Chatter, what we're going to do is first set the color. We're going to go with a slightly blue color somewhere around here. We don't want to go too high. Something like that will look pretty good. Next, we're going to add in a franel node, and this is going to be for the roughness. This will give it the look of cloth. We're going to press Shift A and then type in Fneel, and you should see it right there. If we take a look at this, let's press z and go into the material preview. It might take a second for it to calculate everything properly, and we can take a look at this by control shift left clicking on it. What the Franl does is it adds values to the object based on the edges and where the camera is looking. For example, if I zoom in on this by hitting the period key, Depending on where I'm looking at this curtain, the edges of it will always be a white value. If I look on this side, you can see the edges are white. If I look over here, the edges are white, but it's never directly centered. You can see this side it is white, and that is what the Franl does. Now, if we were to take that and plug it into the roughness, and then we can control this a bit more by adding in a math node, converter math node, Place it here. I'll make sure that's plugged into the roughness. If we take a look at this now and switch it over to multiply, we can control how much of an effect it is. You can see right now it's very glossy. If I drag it up though, it's going to make that less of an effect. Let's go with a value of around four. Now you'll notice that only the edges are a little bit glossy, which looks pretty good. Maybe we can go a little bit higher. Let's go with a value of five, and that is looking pretty nice. One more thing that I want to add is a way for light to pass through this curtain because curtains are always a little bit semi transparent, and we can do this very easily with a translucent shader. Let's press shift A, go over to Shader, and then add in a translucent shader right here. We'll add in a mixed shader to combine these together. Take the output of the translucent and plug it into the input of the mixed shader. You can control how much light passes through it with this value. But I think a value of around 0.5 actually works pretty good. If we press z and go into the rendered view now, we should be able to see what it looks like. Notice that if it goes all the way up, it's pretty translucent, but if I go all the way down, no light can pass through it. Probably around 0.5, you can play around with this value until you get what you like. But I think that is looking really nice. Let's go ahead and apply it to the other one as well, make sure you select it. And the drop down menu, we can type in curtain and then select that curtain material. Feel free to change the color as well if you want to go with more of a orange yellowish theme, you can do that. But I think the blue gives it some nice contrast with the rest of the scene. As for the railing, let's go ahead and select it. Give it a new material. We're going to call this railing. Then all we really need to do is bring the metallic up. We're going to go with a dark glossy look, bring the roughness down, and then just set the base color to almost black, maybe something like that, and that is looking pretty nice. Let's make sure we save our project and jump over to the layout and preview everything as a whole now. There we go. That is looking really good. 21. Detailing the Interior: Hello, Ryan, and welcome to a new section. In this section, we're going to be covering the camera angles, the small details compositing, and then we're going to create a final image. To get started in this video, we're going to be adding in a couple of small details around our room to really make it stand out. First off, I'm going to select the Canvas. I notice that right now it's a little bit too low and close to the couch, so I'm just going to move it up just a little bit so it's a bit higher. Next, we're going to add in a couple of books over on this ottoman right here. Make it look like it's actually lived in, people grab it from the shelf, place it on the Ottoman, that kind of thing. What I'll do is I'll go into the material preview and just select a couple of them. I think I will select the green one. Let's select the low poly Pro V two, and then maybe this one right here. Let's shift D them and place them over here. Then we can hold shift and then right click to place our cursor right there. Now, I'll press Shift S and go selection to cursor to move all of them over to that position. Then we can press t r to reset the rotation, and then we'll rotate it and place it on the atoman. I'll press R, then y, and press 90, and enter. Let's drag them up so that they're sitting on the atoman itself. Then we can zoom in on with a period key. We'll select the one on top, drag it this way. Now we can place this how we want. I think I want this one on the bottom. I'll rotate it around here. This one will place next, right there, rotate this one around, something like that. Then finally, this one will place right on top. And then rotate this one maybe all the way around until it's like that. We'll take a look at that from the camera view and that is looking pretty good. If you notice that this is pink for some reason, I think the reason for that is if we open up the shader editor, even though the texture is still there in the rendered view, it doesn't show up in the material view, and I think that's because it's set two tiles. We need to select single image. There we go. Now that appears in the material preview. If that was an issue for you, you can set it to single image and you'll be able to see it. Next up, let's add a decoration right on our coffee table. Let's place our cursor there. We'll press Shift A add in a circle object. We're going to model a plate real quick. In the dropdown menu, let's set the number of vertices up to 128, so it's a little bit more smooth. Then we can scale this down. We'll zoom in on it with the period key. We'll go into EDI mode, press e to ext, and then we'll scale it outwards, something like this, and drag it up so we get this shape. Then also make sure that we select the inside loop by holding Alt and left clicking, and then press F to fill in a face right there. Now, this is paper thin, so let's give it a solidify modifier. Over on the right side, we're going to click Generate and then solidify. Make sure we press Control A, apply the scale to it, it applies the solidify mod properly. Let's go with a value of 0.001, so it's pretty skinny, and I think that will look pretty nice. Something like that. I'm going to move this cut over there so to give it some room. Now for the decoration itself, we're going to be adding in two tauruses. Press shift A, let's add in a Taurus. Then we'll scale this whole thing down, and I do want them to be a bit thicker, so I'll go into edit mode, and then I'll press Alt S to scale it and we can scale it up like this. Probably right around there is good. Then I'll press shift D to duplicate it, move it over to this side. We'll rotate this 90 degrees along the y axis. We have two truss doing this thing. We'll select both of them, go into dI mode, and then we'll do the exact same thing again. Press all to S and scale them up until they're almost touching, right about there is perfect. Then all we have to do is rotate it along the y and then place it right on the plate. Something like that, maybe scale the whole thing down, and that is looking pretty good. Now, with these two objects, I'm also going to add in a subdivision surface modifier. We can do that quickly by hitting Control two or command two on a MC. We'll set it up to a value of two for both of these and then right click and shade it smooth. Now for the material, we'll select one of them, and then we'll jump over to the shading workspace. We're going to close off this panel. We don't really need it. Then in the drop down menu, let's find a wood material. Let's select the wood ottoman. I think that one will look pretty nice. Then we can hit the period key to zoom in on it. I'm also going to go into the material preview and not the render preview, so it runs a bit faster. And that is actually looking a really good so far. But I want to change it up. So to make sure that we don't change the ottoman material, let's duplicate it by hitting that three button here, and we'll just call this Taurus. This hue saturation node, what I want for this material is the wood color to be very, very light. What I'll do is I'll set the saturation much lower, probably around 0.3, and then the value, let's go up to around 1.5. We get this look. Maybe that's a bit too much, and then maybe the saturation can be a bit higher, and that is looking nice. Then then to apply it to the other one, let's select it, and then we'll just type in Taurus and select it right there, and now both of them are sharing that material. I might bring it a tiny bit lower. That is looking pretty good. For the plate, we're going to create a new material. We'll call this material plate. Then all we really need to do is just bring the roughness to a round like 0.1, so it has a glossy look. One more decoration that we're going to add in this video is over on the right side, right here. We're going to place our cursor there by holding shift and then right clicking. Let's press shift A, and for this decoration, we're going to be adding in an cosphere. Let's add in a new cosphere, and in the drop down menu, let's set these subdivisions down to one, so it's a little bit more low poly. Then just scale it down and then place it on top of the TV stand. Let's zoom in on it with the period key, and we want to make sure that this is not poking through the ground. I'm going to just rotate it until it's flat, like this. I'm just eyeballing it. You don't really need to worry about it too much. I just want this face to be completely flat. I'll double tap r again, do it, something like that, and then drag it down. That looks pretty good. We'll place it here, move it to the side, shift it, place it over here, scale it down. Now we have two of them, one is a little bit bigger and one is a bit smaller. For this material, again, we're going to be using a wood material. I like the ottoman looks. Let's select one of them. In the drop down menu, let's just type in ottoman and select that attoman material. Let's duplicate it by hitting that button on the side. We'll call this cho. Then for this one, all we really want to do is maybe bring the saturation down and then the value up like that. Maybe the value actually down, so it's a bit darker. That looks actually pretty good. Then we'll just select this one and then drop been menu type in cho, and then select it here. Now they're sharing that same material. 22. Render Settings: Hello over one. We are almost ready to render our first image of our interior. However, there are a couple of things that we want to do before we render it. First off, let's find a focal point for the camera to focus on. What I think I want for this scene is it to focus right on this object. It's right in the middle of our scene. If we take a look at this object, over on the top left, you're going to see the name of it. It's just the Taurus. Back in camera view, let's select the camera by clicking on the side right here, O in the camera settings, we can turn on depth of field, open up this panel, and then for that focus object, we can find the Taurus, or we can use the eyedropper tool and just select that object here. Now the eStop is how much of an effect the depth of field will have. Let's see what it looks like with just the basic 2.8. If we go into the rendered view, we should be able to see what it looks like. You'll notice if I set this way lower like a value of about 0.2, everything becomes very blurry. It looks very, very small. In this case, I want to be able to see most of the scene in a pretty clear view. Let's leave it at around 2.8. I think that looks pretty good. We can change it later if we want to. Now for the settings, we're going to jump over to the render settings. First off, the max samples right here in the render, you're going to want to set this low, probably around 200, maybe even a little bit lower like 150, and that will help speed up the render. If you're going to create an animation, the noise threshold, make sure that is unchecked. If this is turned on, it'll give more samples to different areas of the image. However, when you're rendering animations, this will create a very flickering effect in your final render. Make sure if you're if you're animating the camera that this is turned off. Since we're only rendering one image, I think that is good to leave it on. It'll help speed it up a little bit. The other things that we're going to want to do is underneath the color management tab. We're going to set the look a little bit higher in the contrast. Let's go back into the rendered view. For the look right here, you can experiment with what these different views are. I found that high contrast or medium high contrast works pretty well. You'll notice right there that everything just has a bit more contrast. If you think it's a bit too dark, you can also bring up the exposure and gamma. If we bring up the exposure a little bit, you'll notice everything becomes brighter. Same with the gamma, if you go higher, I might look a bit better. I think what we'll do for this scene is just bring the gamma up just a tiny bit to help those shadows become a little bit brighter. Maybe around 1.2 or so, I think we look pretty nice. That's basically all we really need to do. From here, let's go ahead and render out an image and then work in the compositor. To render an image, we can press F 12 on our keyboard or we can come up to render and then select render image, and that'll bring up a new window. Once this is done rendering, we will work in the compositor. 23. Compositing & Post Processing: All right, the render has finished. It took about a minute or so to render. Now in this video, we're going to composite or render just a little bit to give it some more umph and make the colors pop out a little bit more. To do this, we first need to exit out of this window and then jump over to the compositing work space up here at the top. Let's select use nodes on the left side, and then we can press and to close off that panel, and then we'll bring this part down a little bit till we have this full work space. To see what our render looks like, we can select the render layers and hit control shift, and then left click on this, and that's going to add in a viewer node. Let's place this over on the right side. There are a couple of shortcuts that you need to know for working with the compositor. V will zoom your image out, and then Alt V will zoom it back in. Then if you hold the Ault key and then middle mouse bun, that's going to move the image around. I'm going to zoom out until we get the full frame and then I'll position it right about there looks pretty good. Now, another thing that I like to do when working in the compositor is if we add in another node, for example, like a color ramp or whatever, if we place it here, that's only going to be applied to the viewer node. One thing that you can do though, to counteract that is if you hold the shift key and then right click, you can place a connection between these two points here. Now if we press Shift A and add in another node, again, like the color ramp, It's going to automatically be put into the composite and the viewer node. Just a little quick tip right there to speed up your workflow. With that color m selected, I'm going to hit control x to delete it, but keep the connection. The first thing that we will do is add in a little bit of film grain to our image. Right now, if we were to zoom in, I'll hit in Alt V, I'll zoom in a little bit, our image looks basically perfect. There is no issues with it. There's no grain anywhere. Anything like that, and that's really not what a real camera would do. There's always going to be a little bit of film grain in every single camera. So when we add that in, it's just going to give a very, very subtle effect and make our image look a little bit more realistic, like it's taken with a real camera. Now, you can just add an image over top, or we can use blenders built in texture function over here in the texture panel. We can create a new one. We can just call it film grain. And then for the type, let's go with a noise right here. We can see the noise pattern appeared. Then to add that in, all we need to do is add in an input texture, and then in the drop down, many, select the film grain texture that we just created. To add this into our image, we'll first pre shift A, go over to color mix, and then just add in a mix color node. We'll place that here. We're going to take the value, plug it into the bottom input. Then if we switch this over to the add function, there we can see the texture is working properly, but the amount of noise is way too much. Let's bring the factor down much lower to around 0.015. Just want a very subtle effect of noise being applied to our image. The other thing I want to do is add in a little bit of blur to the noise. Underneath the filter option, we're going to select Blur and then just add in a normal blur node. We'll place it right here. Set the amount to two for both the x and y, and that'll help smooth out the noise. If we now zoom in, we can see that there's a little bit of noise being applied to the rest of the scene. If you think it's a bit too much, you can go even lower. I think probably 0.01 is a good value. Next up, we're going to change the color a little bit underneath color, select adjust, and then the color balance note. We'll place that right here. Here we have three different values. The lift is for the shadows, the gamma is for the mid tones, and then the gain is for the highlights. For the lift, I want to make the shadows a bit more blue, so I'm just going to drag this up just a tiny bit, make it a bit more blue. Then for the mid tones, I want it to be a bit more orange slash red over here. Then finally, and then finally for the highlights, we're also going to probably go a little bit more yellowish, something like that will look pretty nice. Next up, we're going to press Shift A. I also want to add in a little bit of glare to the window just because it will make it look more realistic. We're not going to use streaks. We're going to select fog glow. Then for the mix right here, if we go all the way up to one, it's only going to show the glow. If we go all the way to negative one, it's only going to show the normal image. What we can do instead of doing a negative one, we can probably go with negative 0.8 or so, so there's a little bit of glare. I think that will look pretty nice. Finally, if you think the image is overall a bit too dark, what we can do is add in a color adjust, and then gamma node. We can place that here, and then bring the gamma down just slightly and that'll help brighten up the image. I think that's a bit too much. Maybe we can go 0.95. That looks pretty good. Finally, the last thing that we can do with our compositing is add in a vignette to darken the corner so that the focus is in the middle. We can do this by adding in a color mix node. We'll place that right here. Then over on the left side, we'll press shift A, go over to transform and then select the lens distortion. We will again also use another blur node right here. At the distort value 21 and take the image and plug it into the image. If we take a look at this blur node, we can see this is what it's doing. It's blurring the edges just like that. If we then take that image and plug it into the bottom input, we can take a look at this now. Here is the result that we're getting. Then with the blur node, we can blur out these corners so they're not as sharp. We're going to switch it over to the fast gagian right here, set it to relative, and then underneath the y, we can set a percentage of how much blur that we want. I found that a value of about 15% looks pretty nice, but you can play around with it until you get the look that you like. Then all we have to do is to get rid of all of the white values, switch it from mix over to multiply. There we go. That is looking pretty good. The strength of this is a bit too much, so let's go down to around 0.5. Make sure you save your project as well, and there we go. To save this image. We can press F 11 to bring back our original render right here. Here is before the compositing. Then if we click this menu, type in viewer, we can select the viewer node, and here is after compositing. You can see everything just looks a bit more saturated. There's more of a yellowish color, and I think that is looking really nice. If you want to save this image, you can press Shift S to save it. However, I'm going to do another render with a higher sample count just to make everything look a bit more clear. We'll do that in the next video. The 24. Adding the Camera Angles: Hello everyone. We are almost ready to do our final render for our modern interior. In this video, I'm going to show you how to set up multiple camera angles and render them all at once. The first thing that we' will do is come over here to the right side underneath the render tab. Let's set the max samples a bit higher so we get more of a clear image. Let's go with a value of around 350, and that should be plenty of samples to create a really crisp image. Next up, with the camera selected, I notice that the blur is a bit too much, so let's come over here to the F stop and set this just a tiny bit higher. Let's go with a value of 3.5. This will just make sure that the blur is not as strong, and the depth of field is a little bit more clear. Next up, let's add in those different camera angles. What we need to do is with this camera selected, I'm just going to press shift D and then move it over to this side. Rotate it so that the camera is facing in this direction. Then to see what this camera angle looks like, we can hold the control key and then hit Numpad zero to snap into this camera view. You can also come up to view down to cameras. Then you can select the set active object as camera and that'll do the exact same thing. From this view, we can press G to move it, and I might just drag it back just a bit until we get the full view in the scene. Something like that will look pretty good. To see what this looks like, we can press z and go into the rendered view, and since we duplicated the camera, it should still have that torus object as the depth of field. One more camera angle that we will add is over here on the right side, looking at the couch. With this camera selected, we'll press shift, move it over to here, rotate this until it's facing the couch right here. Then again, we can hit control numpad zero, or go up to a view, cameras set active object as camera. We'll drag it down a bit and then move it over to the left side. Something like this will look pretty good. We'll go into the rendered view once again to see what this angle looks like and just double check that everything is looking pretty nice, which it is. The camera angles done, you can add more if you want to, but I think I'm going to move on to actually rendering out those three images at once. First, go over to the output tab. Underneath the steroscopy option, we're going to select the steroscopy, and then we're going to switch it over to multi view. What this does is it'll render each individual camera that we set up right here. How this works is we first need to select our main camera and we can see the name is just camera. Underneath the left, we're going to delete this and just leave it there because this is the camera suffix. Since this camera does not have a suffix, we're going to leave it blank. However, this camera on the left side here does have a suffix. It has 0.001. With the right camera angle selected, we're going to type 0.001 and enter. Then we need to do the exact same thing for this camera as well. H hit the plus sign. This is going to be 0.002. Let's add that in here. 0.002 and enter, and there we go, we should now be able to render out our three images all at once. If we go into the camera view though, you'll notice that we get this really weird distortion effect. The reason this is happening is technically the stereoscopy is used for rendering three D images with the red and blue as you can see on screen. However, the other method that I like using is rendering multiple images at once. To fix this view, we need to have the camera selected, press to open up the properties tab, and then underneath the view option, underneath stereoscopy, switch it from three d over two views, and that'll fix it. Then we can do the same thing here. Make sure it's set to views, and then make sure this one as well is also set to views. Now we should be able to look into each camera view without seeing that weird three D effect. With that done, we are ready to render out an image. Make sure that everything is correct like the MAC samples that you want, the color management. All that is good to go, save your project, and then we can go over to render, and then select render image. Now, this will go one by one, rendering out the first camera angle and then the next one after that. Then after that is done, I'll show you how to save your image and how to view them in your folder. 25. Saving Your Render: All right the render has finished and here is the result. As you can see, all of the images are jumbled together, but don't worry. Once you save it, they'll be separated into different images. If you want to see what the individual images look like right now, what you need to do is select this button right here, and then select which one that you want to see over on the right side. Now this is the main one. If I want to see the one from this angle, you can see it there, and then finally, the render view will show it here. Now, this is looking pretty good. Now to save it. Let's go back over to this view here. We'll press Shift Alt S to save our images. Then once you've found the folder that you want to save it as, you can name it here. We'll just call it modern interior. Then make sure that the right side is set to individual and it's not set to Stereo three D, or that will combine the images together. Make sure it's set to individual right here. Then just click on Save As Image. If you open up that folder, you'll be able to see your three images here and you can select them and then go through them and view them individually. But there we go. That is how you create a modern interior in Blender. Thank you very much for watching, and if you want to end the course there, you are welcome to. However, there are a lot of other videos that are included in this course, such as the rendering it as a night time scene. You can see the result right here. You can see the clay version as well. Then also, I'm going to be showing you how to render it in the EV render engine. That is all coming up in the later sections. This point, I highly encourage you to look at your modern interior and see if you want to change anything else or make it your own. This course is more of a guide to show you how to do it, but I encourage you to go through and change it and add your own models, change the lighting, do all of that stuff, and make it your own. If you created something from this course, please send it to me on Instagram at Blender Made Easy, and if you would like to see more of my content, you can check out my YouTube channel, Blender MadeEs as well. Thank you very much for enrolling in this course once again, and I look forward to seeing what you guys create. 26. Creating a Clay Render: Hello everyone. In this video, I'm going to show you how to quickly render out a clay version of your modern interior. This can be very useful for showing off to clients. You can see the before and after with no materials versus all materials, and it's just something very nice to have. First off, let's go ahead and jump over to the output tab right here or the scene panel, and then uncheck the stereoscopy. We don't really want to render all of those images. I only want to render one of them, and that's going to be this camera. If for some reason, this is your active camera, just make sure to select this camera, hit Control Numpad zero to make it the active camera, and you'll be good to go. First off, we need to add in a new object. I'm going to press Shift A and add in just a new cube object, and then just move it over to the left side so it's out of the view. Then over in the material tap, we're going to create a new material, and let's call this material clay. Now, this is the material that's going to override every single material in your scene. Make sure that you set the base color. If you want to change it to some color, you can, I'm just going to leave mine as white. The roughness we can leave at 0.5, that looks pretty good. Now let's go back into the camera view. To override every single material, we need to jump over to the view layer panel right here. Scroll down a little bit until you see the override option here. This will override every single material. Now if we type in the word clay, you should see that in the menu. Go ahead and select it. Now, one big issue that we have right now is if we go into the rendered view. You're going to notice we can't see much. The reason for that is because it's also overriding the windows right here, and so no light from the HDR is entering our scene. One fix for that is just to move the windows out of the way. What I'd like to do is with the window selected, go into edit mode, and then in face select mode, we can select those faces for the window. Box select them, hold in shift, we can select that side, and then last, we will select those windows there. I'm going to press G, and then just hit five and make sure you remember how much you moved it up. We moved it up by five, and then we'll render this image. Now those windows are above, as you can see there, and they're out of the way, and now the light will be able to be seen. From here, you can save your project and then render out an image. The render has finished and here was the result, and that looks really nice. Let's go ahead and save this image by hitting Shift to S, or you can come over to image down to Save as and then navigate to where you want to save it. We'll just call this clay render and save that image. Now, if you want to go back to all of the other materials. All you have to do is first select the window. We'll go into edit mode. Make sure the windows are selected. We'll move them back and remember we moved it up by five, so we need to move it down by five. We can go G, Z, negative five, and enter. Then over on the right side, we can get rid of the clay override. Save project, we'll go back into the rendered view, just to double check that everything is working properly. There we go, we now have our main materials back in place. In the next video, I'll show you how to render out a nighttime version of your scene. 27. Creating a Night Time Render: Hello over one. In this video, I'm going to show you how you can render out your image from this over to a nighttime version that looks like this. What we'll be doing is changing up the HDR, messing around with a couple of the different models, and then rendering out an image. First off, to make sure that we don't change the original blend file of this interior, let's save it as a new blend file and rename it. I'm going to press Control Shift S, and we're just going to call it nighttime tutorial. And then I'll click Save As. Now we can change this however we want, but it's not going to affect that original blend file. At this point, let's change it up. Over in the world settings, let's add in a new HDR, because right now, if we go into the rendered view, you'll see that it's currently using a daytime HDR. What we'll do is in this menu. We're going to click on the Folder icon and then navigate to A HDR. The one that we'll be using is from Polly Haven. It's this one right here, the Moonlit Golf. You can select the two K version here, and then click on Download. The link to this is in the resources. Once you have it downloaded, we can jump back over to Blender, select it right there, and then go open Image. If we press z and go into the rendered view once again, we can see what this HDR looks like. Currently, it's way too bright, so let's bring the strength down much lower. Let's go with a value of around 0.1. Now we can see the nighttime, we can see a couple of stars as well, and it's looking a lot better. Next up, we need more lighting in our scene because right now it's very, very dark. What I'm going to do first is, I don't really want this lamp to be here. I actually want this lamp to be on this side and on the other side of the couch as well. Let's switch the places. In top view, we'll go into the wire frame. We'll move this lamp over to this side. Then we'll select this lamp, move it back over here, rotate it around, so it's underneath this. And then over on this side, let's make sure that the cord is into the wall, just like that. Then also this bookshelf is a little bit too close to the lamp. Let's just select everything, make sure to press B, middle mouse but and two D select anything you don't want to move. There we go. We're only moving the bookshelf. Let's move it along the y just to give the lamp a bit more room. That looks pretty good. Next, I'm going to select it. Right now, we can't really edit this. The reason for that is because it's linked to the original blend file where this model comes from. What we need to do is make this instance of it real. We can do that by hitting Control A, and then selecting make instance real. Now if we select it, we'll be able to edit the individual objects. Let's take a look at it by hitting Z and going into the rendered view. We can see there is a light that's inside, but since it's inside the bulb, it's actually not really giving enough light. Let's actually just delete that bulb right there. We're not going to need it in our scene. Now once we do that, the light we'll be able to pass through, and now it's lighting up our scene much brighter. Let's go ahead and select the light. We'll go into the camera view to see what it looks like. Over on the right side, the strength that's currently set 230, and that looks pretty good. I'm going to bring the radius up just a little bit until we get the size that we want. The higher we set this to, the softer the light will be. So probably around 0.14 or so will be pretty good, and that'll give us a much bigger light and make everything much softer. That looks really nice. Now let's duplicate that and place it on the other side. Box select everything. The select the objects that you don't want to move. We'll press ult D, then y and move it over to this side, rotate a bit, and then place it right there. Let's take a look at that by going into the camera view, going into the rendered view, and that is looking much better. As for this light, I noticed that it's very white and I actually want it to be more of a yellowish color to match the rest of the scene. With this model selected, we'll press Control A, and then click on Ma Instances Real. Then select the lamp right here, and for the color, just give it more of a yellowish color. Let's see what that looks like by going into the rendered view. That looks a lot better, and now that's going to match the rest of the scene and make sure that it doesn't stand out as much. That's looking pretty good so far. The other thing that we can do is over here. We're going to add in a couple of different candles on this coffee table, and that will just help make everything feel a bit more home. What we'll do is again, we're going to split this view, switch it to the asset browser over on the right side, in the dropdown menu, select the interior models. You can see right here that our interior models are not showing up, and the reason for that is because sometimes the directory just messes up, and we just need to re import those back in. So over to your edit, down to your preferences, underneath the file paths, we can go ahead and click on this folder here and then navigate to where it is, mining it right here, my textures and models, and then models, and then click Accept. Sure we come down here and save our user preferences, and now we can see all of those models on the right side. Let's drag the candle. We'll click and drag, place it in the middle of our scene. Holding Shift, I'll place my cursor right there, and then I'll press Shift S and go selection to cursor. Now we can see it's placed right on our coffee table. I'm going to scale it down a little bit. I think it's just a tiny bit too big. Place it somewhere around here. That looks pretty good. We can go ahead and close this panel off by clicking and dragging on the right side. Let's see what this looks like by going into the rendered view. And we can see it's actually working. But I think I want to add in a lamp right here to make the candle a bit brighter. So what I'll do is I hold shift and then right click, to place my cursor right on top. We can press shift A, go over to light, and then add in a point lamp. Drag it up a bit, set the strength down to two, and then give the color of flame somewhere around there will be pretty good. Let's check it out in the rendered view. And that is looking really good. Maybe the strength is a bit too much. Maybe we can go even lower to one. Then finally, let's duplicate this whole thing. I'll just select this object here, shift D it, move it towards this way, rotate it around, maybe place it like that. That looks pretty good. Let's go into the camera view and check out the entire thing. And there we go. We now have candles, we now have lights, and that is looking really, really nice. If you want to add some cool atmosphere, what you can do is add in a sunlight and place it so that it's rotated into the window. This can act like a moonlight. Let's try it out. Let's add in a sunlight, move it behind, somewhere around here, drag it up, and then rotate it so that it's facing inside. Something like that will be pretty good. Then for the color, let's set it over to a nice bluish moon color, something like that. If you want to, you can add the multiple camera angles with the stereoscopy right here. But for this scene, I think I only want to render this image. What I might do actually is select it. I might move it back just a tiny bit, so we get this lamp in the shot as well. Something like that will look pretty nice. Then from here, let's just press F 12. The render has finished and here is the result. I think it looks pretty good, but there are a couple of small issues. First off, the light right here. It's right in front of the bookshelf, which I don't really like. What I'll do is I'm just going to move it over to the right side. We can do this pretty easily by selecting the lamps and the couch. Let's zoom out a little bit. We'll box select all of these objects. Box select all these objects, and then deselect this object and just move it down just a little bit until it's out of the way. Then for the bookshelf, I'm going to drag it up even further. Select everything, drag it up, then we'll select the lamp and move it backwards until it's right in that corner. That will look a bit better. Next, for the compositing, I notice that there is a bit too much noise if we take a look at the render once again, there's a bit too much noise right here, and that is because of the film grain. If we jump over to the compositing workspace right here, and if we mute this by hitting M, you'll notice the difference. Without it here, and then if we press M to unmute it, you can see with it here. It's just a bit too much. What I might do actually is just delete that entirely and just use just the base image. I think that will look a bit better. The thing that I like to do here is since this is a nighttime scene, I think the gamma, I want to be slightly darker. Let's go up 2.98. Just do darken everything to make it look more like a nighttime scene. Then for the glare, I'm going to bring up the glare a bit, let's go down to around 0.6, that will make the glare pop a bit more. We'll check it out with it and without it with this is without it, and then if we press M, that is with it, and that gives us a really nice look. With those two changes, let's go ahead and re render an image and then we will save it. I'm going to press F 12 once again. Once this is done, we'll take a look at it, and that'll be it for this video. And there we go. That is our final result. That looks really nice. And to save this image, you can press shift all to S or go over to Image, Save as. I'm going to save it here and just call it Nighttime Render. There we go. 28. Rendering in Eevee Next: Every on. In this video, I'm going to show you how to render your interior scene using the EV next render engine. Now, at the time of this recording, Blender version 4.1 is the official release. But right now we are in the Blender version 4.2 Beta. I showed you how to download that in the last video. Once you have it downloaded and up, we can see the default scene here. What you're going to want to do is click and drag your blend file into this scene, the modern interior blend file that you've been working on. You do that, you can click on Open and don't save that. Once we give it a second, there we can see our scene is now in the blender version 4.2. If you tried to just double click your original blend file, it's going to open it up in the previous version 4.1. But since we're using that experimental branch, we need to click and drag and place it in here. First thing that we need to do is save this as a new blender file, so we don't mess up the old one. I'm going to press control shift, and then S. Then I'm going to call it tutorial EV next. And then I'm going to click on Save S. Next, we can see that our GPU is currently not available, so let's go ahead and fix that by going up to edit down to your preferences. Underneath the system tab, we're going to select my GPU, which is the VDA RTX 2060. I'll go ahead and exit out of there, and now that should pop up. Next, we're going to switch the render engine over to the EV render engine. Make sure you save your project again just in case this crashes, and now let's press Z and go into the rendered preview. Now, depending on your computer, that might take a minute to first calculate all of the materials, lighting, and all that kind of stuff. But once it's done, you'll be able to move around your scene in real time. Now, here is the render engine EV, and it's looking pretty terrible at the moment, so let's go ahead and work on some settings to make it look a lot better. Over on the right side, we're first going to enable the ray tracing. With this enabled, it'll allow light to bounce around the scene, creating ambient clusion, shadows, all that kind of stuff. Now, this will take a second to calculate because this is a pretty intensive scene, but once it's done, we will be able to see it. And there we go. Now if we turn it off, we can see this is before, without the ray tracing, and with it on, it's starting to look a lot better. But again, it still doesn't look that great. So let's open up this setting here. First off, the resolution, we're going to bring that down to 1.1. This is the highest resolution possible. And next, we're also going to bring up the roughness. I notice that if we bring up the roughness, it does help a little bit with the shadows and bounces. Let's bring it up to around 0.8. Next, open up the screen tracing. We're going to bring up the precision all the way up to one to give us the highest precision possible. And then for the thickness here. You're going to notice if I come over to the left side, There's a lot of blue color and this is from the HDR. The reason this is happening is because EV just calculates the HDR and lighting a little bit weird sometimes and it bleeds into the scam. What we need to do to fix that is just bring up the thickness here. If I drag this up, you're going to notice it starts to disappear, but now it's right there, so let's bring it up even more until all of that is gone right about there. Rounded value of about 11, maybe 12 will help with that bleeding. Now it's starting to look a lot better, but there's still more things that we can do. First off, we're going to come down here to the color management. I think with the EV render engine, it's actually a bit too bright, so let's bring the gamma back down to one. And also for the look, let's go up to high contrast. Next, let's jump over to the world settings. There is one setting here that is very important that we need to change. In the settings option here, enable the shadow. This will dramatically make your scene look a lot better. You can see with it off, and then with it on, now the shadows are calculating correctly according to the HDR and how the window is, and that is looking ten times better. So make sure that is enabled. Next, let's work on a couple of the materials. You'll see here that this cup does not look very natural. To fix that, we first need to apply this instance, since it's currently linked to that original blend file, where this model comes from, we need to apply it to this scene. We can do that by hitting Control or command A, and then selecting make instances real. Now we will be able to select the cup, jump over to the material tab, make sure you select the glass cup material and not the water one. We'll scroll down here to the settings and then enable ray trace transmission. And now that cup is starting to look a lot better. Let's do the same thing for the window. Go ahead and select the window, scroll up and make sure you select the glass material, come down here and then enable ray trace transmission, and that'll help with the glass material as well. The next material is going to be the curtains. What we'll do here is just open up this translucent BSDF, and I don't want to use this. I actually want to use a transparent shader. I found that the transparent shader looks a bit better than the translucent in AV. In cycles, the translucent does look better. But for this one, we're going to switch it over to the transparent BSTF. Then for the factor, if we go all the way up to one, it's going to basically disappear and then if we go down, it's going to be a completely principled shader. Let's go down just a little bit to around 0.3, so we have a little bit of transparency in that material. That's looking pretty good. And basically, the only thing that we have left to finish is this object here. Let's select it and then press the period key to zoom in on it, and you'll see there is currently a big problem. We're seeing the HDR in this mirror, and that is not what we want. To fix this, we need to add in a light probe. Let's press Shift S and go cursor to selected to place our cursor right at that object. Then let's press shift A, go over to light probe, and then add in a plan light probe. Let's rotate this in 90 degrees along the x axis, so it's pointing in this direction. Now if we move this forward along the y axis just a little bit until it goes in front of the mirror, now we will be able to see the other objects through the mirror. What we can do next is just scale this down a little bit until it fits the size, just like that. And then over in the data panel here. We can bring up that distance until it reaches something like that. There we go. That looks pretty good. Now, let's check it out in the rendered view, let's press zero, and then we'll press Z and Togo overlays to make everything disappear. And there we go. That is a really nice render in the EV next render engine. Let's go ahead and render out an image. I'm going to press F 12. There we go, the render is done. We can see it only took about 14 seconds compared to cycles, which takes about a minute or so, and that is looking really, really nice. Now there is something to keep in mind. With this Beta version of blender, there are a couple of problems, like in the compositing workspace here. This lens distortion is currently not doing anything. You'll notice we don't have a Vnette, like we did when we rendered it in cycles, and that's just I think a bug in this Beta version. Hopefully, that's fixed as you're watching this video. But that is one thing to keep in mind. You'll notice if I drag the factor all the way up, nothing happens. There's no vignette effect. It's not really doing anything. So just keep that in mind, you'll have to add that in a different way like in photoshop or another editing program. Lastly, if you're happy with the result, you could go back over to the output tab and then enable the stereoscopy option here to render out the other camera angles. Let's go ahead and do that. I'm going to save my project just in case this crashes again, and then press F 12. There we go, the render has finished. It took only about 36 seconds to render all three of those images. From here, we can save it if we press shift all to S, or you can go over to image down to save as. You can save it to wherever you want. You can call it right here, and then double check that the views format is set to individual and not Stereo three D, and that will save the individual renders. Lock on Saves, and you'll be good to go. But there we go. That is how you create a modern interior and render it in the EV Render engine. If you made something cool, feel free to post it in the assignment after this video, tag me on Instagram at Blender MadeEsy. Again, thank you for enrolling in this course, and I hope you enjoyed it and learned something cool, and I'll see you guys in the next one. 29. Creating the Rug: Hello everyone. In this video, I'm going to show you how we created that rug that we used in our interior scene. To get started, we first need to add in a plane object. We can delete this que by pressing x and deleting it. Then we'll press shift A, go over to mesh, and then add in a plane object. For the dimensions for this plane, let's use the same ones that we used in our interior. Those are along the x, it's going to be 1.8, and then along the y dimension, it's going to be 1.4. Now we have this shape. Let's zoom in on it by hitting the period ke. Next, to give it some thickness, we're going to go into edit mode, press e to extrude, extrude it up just slightly, and then let's scale it in. I'm going to press S two scale, and you want to make sure if we go into top view, that this edge and this edge are exactly the same. Since this is a rectangle and we're scaling it in like this, this edge right here along the horizontal way is going to be way more than the vertical. We need to zoom in here and to fix that. All we need to do is press S and then y and scale it along the y just a tiny bit till it matches this edge. That looks pretty good. Next, let's smooth that out by going over to the modifier table. Let's add in a subdivision surface modifier, just like this, and we'll set both the view and the render to a value of three. We get this shape and to make it more of a square again. We're going to add in a loop cut down the middle by hitting control r, we'll add in one loop cut, and then drag it over to the right side. Let's do the same thing on the left, add in a loop cut, drag it over to the left, then we'll do it this way as well, the horizontal way, drag one to the right, and then drag one to the left. Now we get this shape. From here, we can add in the particle system. We're going to jump over to the particle system tab, create a new particle system by hitting that plus sign, and then we can change it over to the hair particle system, and we can see this goes crazy, and there are particles shooting out everywhere. What we want is for the particles to only be on the top part of our rock. To do that, we need to create a new vertex group and assign the particles to that group. We can do this by jumping over to the object data panel. We're going to click on the plus sign to add in a new group, and then to assign it, we need to go into Edit mode. I'm going to switch over to the Face select mode and select all of the top faces just like this. Then finally, the last one. Then on the right side, we're going to assign that vertex group to these faces that we have selected. Now, if we jump back over to the particle system, we can open up the vertex group panel here, and for the density, let's select that group that we just created. There we go. We now have the particles and they're only on top. But right now they are way too long. Underneath the hair length, let's go down to 0.01 and enter. Now we have a very thin particle shape like that. L et's press Control A and apply the scale to this object as well, so the scale numbers go back to one. For the number of particles, let's go way up higher. Let's go 250,000. Once we do that, we can see we get some weird patches in the particle system. The reason this is happening is because of the subdivision surface modifier. To fix it, we can open up the source value and then just check use modifier stack. Once that is checked, now we can see the particles are evenly distributed over the entire thing. Now we're going to fix a couple settings in the particle system to make it look more like carpet. We're going to turn on the advanced option here, and then scroll down to the physics, we're going to open up the physics panel and then set the Brownian amount. This will give the hair a random movement and make it look a little bit more organic. Going to go 0.00 and five. We want to go really low with this number because you can see with just that small value, the particles go crazy, and that actually might be a bit too much. Maybe we can go slightly lower. Let's go 0.003. Next, we're going to open up the render panel here, turn on B spline, and this will help smooth out the particles. We're going to set the number of steps up to a value of four. Then from here, we can go into the rendered view and see what our particles look like. Let's press z and go into the rendered view. With the EV render engine, we're not going to be able to see thickness for the particles. Let's switch over to the cycles render engine and make sure that the thickness of the hair is correct. Over in the render panel here, let's switch it to cycles. And then I'm going to make sure I use my GPU, and we can see the thickness is way too much. Let's jump back over to the particle system tab. We're going to scroll down all the way to the hair shape panel right here. There are a couple different options that we're going to change, the hair diameter. This is the thickness at the bottom of the particle. Let's go lower, let's go 0.08. And then for the top of the particle, the tip of it, let's also match that. We're going to go 0.08. If I zoom in, you can still see that they look very spiky, and to help fix that, we're just going to uncheck close tip. And that will remove all of the different spikes and now we're getting the look of carpet, which looks pretty good. Now, if your viewport is going really slow and you're having a hard time moving around, changing the settings, what you can do is open up the viewport display and set the amount lower. For example, if I set this down to 20%, it's going to only show 20% of the particles, but in the rendered view, it will still show that 100%. I'm actually going to leave it at 20 just so we can move around the scene a bit faster. T Now for the material, Let's jump over to the material tab. We're going to create a new one. We're going to call this base rug because this is going to be the base rug. We're going to set the color of this over to a nice tan color. Something like this. We'll bring the value down. Somewhere around here will be pretty good. Then we're going to create a new material, and this is actually going to be the material for the hair. We're going to create a new material here, we'll just call it hair. For this material, let's jump over to the shading workspace up at the top here. We'll zoom in a little bit, then we'll go into the rendered view to see what our hair particles look like. At the moment, it's not assigned to the hair, and we can change that by jumping to the particle system tab. We'll open up the render panel, and for the material, just switch it over to the hair material that we just created. Now the hair material is different from the actual base rug. For this material, we're going to press shift A, we're going to go to input and then add in a curves info node right here. The thing that we want to use is the intercept value. Let's jump over to the material tab. We're going to open up the preview amount and switch it over to the strand hair option here, so we can see what our particles are going to look like. If I press shift A, we can go over to converter, and then add in a color ramp. We'll place that right here. If we then take the intercept value, plug it into the factor, the color into the base color of the principal hater. Here is the result that we're getting. You can see in the preview that the black part is at the bottom, and then it goes up and it turns to white. That is what the color ramp is doing. For the color, we're going to leave the black at the very bottom. We're going to hit the plus sign to add in a new handle here. Then for the color, let's just go with a brownish color similar to the base of the rug, something like this, drag it a little bit lower. Then for the top part, we're going to hit the plus sign again, drag the handle over to the right, and this is going to be a lighter version. We're just going to just drag the value up until we get something like that. Then we'll leave the white as well. For the principle Shader, we're going to bring the roughness all the way up to 0.9 right here. That's basically all we really need to do. From here, we can come over to the collection, we can delete the light, delete the camera, we can name this collection Rug. Then for this collection here, we can right click and then market as an asset right here. Now, once we save this blender file in the folder that has all of our other models, It'll be marked as an asset, so we'll be able to import it into other scenes. Now you could add in another empty object as well. If we press Shift A, we can go over to empty, add in a plane axes, and then make sure that this is positioned right there. We can parent the rug to that empty by selecting the rug first, selecting the empty, hitting Control P, and then click on object. Now if we select the rug, we can move it around, and it will also move the rug as well. But there we go. We've now created the rug, save your blender file, and you'll be good to go. 30. Creating the Tree Plant: Hello everyone. In this video, I'm going to show you how we can create this model of a tree plant that we can add to our interior. To do this, we'll be using the Saplin add on. I'm going to show you how that add on works, how to automatically create tree branches, leaves, and then we're going to apply a texture to it. To get started, let's press A to select everything and delete it. Then to enable the sapling add on, we need to go over to our user preferences underneath dit down to preferences. Then underneath the add ons right here, we're just going to type in sapling. If you don't see it here, what we need to do is come over to the extensions, and then in the extensions, we're going to type in sapling and you should see it there, the sapling tree gent. Go ahead and install that. Once it's installed, we can exit out of this window and to add that in, we need to press shift A. Underneath the curve option, we can see it right there, the sapling tree gent. If we select it, a tree will automatically be added into our scene. Now one thing to keep in mind is this panel at the bottom left. If we open up this panel, here is where all of our settings are to customize our tree. One very important thing is if you click out of it by accident, like if I just select this tree, for example, that menu disappears. What you'll need to do is delete the tree and then add it back in. Make sure before you click out of out of this menu that you change everything that you want to before it disappears. Over on the left side, the first thing that we will do is open up the load preset option. There's a lot of different ones to choose from. The one that we'll be using in this video is the small pine. Go ahead and switch it over to small pine. From here, you can play around with the different settings. For example, the branch distribution allows you to change how far away the branches are from each other. I think they are a little bit too spread out, so maybe we can bring this down so we get more branches in the scene. The number of rings we can change here as well if you want more branches. I think I'm going to drag this up just a little bit until we get a couple more branches. There's also a random seed option. If you want to change the random seed of your branch, and if you can see here there are a couple of different options. I think this one actually looks pretty good, the random seed of one. Then for the scale of it, let's go down just a little bit, we'll go to a value of about three, just so it's a little bit smaller. Next, from here, let's jump over to the other options, like the branch radius. The branch radius allows you, just like the name suggests, to change the radius of the individual branches. You can see here if I drag this value up, it's going to make it thick or small depending on what I want. I think the default values are actually pretty good for the most part, but they are there if you want to change them. The other important setting that we're going to change is the branch splitting. We're going to open up this panel. This menu allows us to change the individual branches, and there are currently two different levels of branches as you can see in this setting. The main one is down the middle and then the branches that are splitting out, that's the second level. We can bring the level up to three and now we have three different levels. The main one, the branches that are splitting out, and then those branches also have branches that split out. A big tree, you're probably going to want to use a level of three, but since this is a small tree that's going to be used in our interior, I think a level of two actually works pretty good. Now you can also change the base splits if you want two different branches that split down the middle. I think I'm just going to leave it at a value of one. The trunk height is an important option that we'll want to change. Since we're going to be using a pot for this tree to be inside, we want to make sure there's no branches near the bottom of it. Let's drag the trunk height up just slightly until we get something like that and that should be pretty good. Next, we're going to come down here to the number of branches. Since we have two levels, this is the first level, it's set at zero. If I drag this up, it's not going to really do anything. But this second option, since this is level two, if we change this, it's going to add more branches. Let's go up to around a value of about 50 to get more branches in the same. Now, the third level right here, since there is no third level, this setting is not going to do anything. The segment splits here. We can see if I zoom in a little bit. This is a split angle. You can see one branch goes this way and one branch goes that way. I drag this value up, there's going to be more of those that appear on our different branches. I think the default value again, is probably fine. The next thing that we will change is the branch growth. Let's go ahead and select this menu and select the branch growth option. And here we can set the angle at where our branches are going to grow and the length of that. If we change the length here, you can see it spreads outwards or spreads inwards. I'm actually going to bring it in just a little bit, so it's a little bit skinnier. Then we can also change the downward angle if you want the branches to go down or upwards. I'm actually going to drag this down so they move up, so it looks more like a healthy tree. Then as for the rest of the settings, you can tweak them if you want to, but I think the default settings are pretty good. Finally, we're going to jump over to the leaves option right here, and then we're going to show leaves. Right now, they're using the pine needle leaves, and you can see there, they're very skinny. This doesn't look that great. Let's switch the leave count right here. Let's go over to around 50 or so. As for the scale of the leaves, we want square leaves. Let's set the scale right here up to around 0.6 or so, we'll take a look at that. That looks pretty good. If you think there are too many leaves, you can change that with this value. I might bring it down to around 35 leaves or so. Maybe a little bit less than that, let's go with a value of 30. Once you're happy with the setting, you can go ahead and select it, that menu will disappear, and now we can work on the material. For the material for this object, we're going to go up to the shading workspace. Right now, we have the leaves selected, so let's create a new material. We'll call it leaves. Then for this object, we're just going to add in a texture. So let's go over to texture, image texture and place that here. We're going to take the color, plug it into the base of the principal Shader. If we click open, we can navigate to where it's at. This texture should be in that zip folder that you downloaded near the start of the course. It's this one right here, the horizontal leaf. Go ahead and select it and go open image. If we zoom in here, we can see that the UV map is currently working. The tip of the leaf is connected to the branch, which is great, but the size of it is a bit too much. To fix the sizing, we can split this view, switch this over to the UV image editor. Then if we have the leaf selected, we can go into edit mode and see what the UV map looks like. We can see the leaf is actually outside the boundaries of the UV map. Let's press A to select it. We're going to press S and then x to scale it outwards until it matches just like that. Now the leaf should fully appear in the texture, which is good. As for the other settings in our material, we're going to bring the roughness up to around 0.9. And then to get rid of all of those black spots on our texture, we're going to press shift A, go over to Shader, add in a mixed shader, and then we will add in a transparent shader as well. So add in A shader, transparent shader right here. Take the BSDF, plug it into the bottom input, and then take the Alpha from our leaf texture and plug that into the factor. Once we do that, this happens and the reason for that is because we need to switch these two values. The shader will go into the top input. The principle will go into the bottom, and there we go, now the black is disappeared, and now we have the leaves, and that is looking pretty good. The other important thing that we're going to change in this material is to give the leaves a little bit of translucency so light can actually pass through them. This to work. Again, we're going to need another mix shader. Let's select this mix shader, shift D it and place it right here. Then we're going to press shift A, go over to the translucent shader. Take the output, plug it into the bottom input, and then the factor controls how much light will pass through. Let's go down to a round 0.1. If you want to, you can add a little bit of bump to this texture by adding in a vector bump. We can take the color from the texture, plug it into the height, and then the normal can go into the normal. Then the strength of this is going to be way too high. Let's bring it down 2.1, and then the distance we can go to maybe 0.2. And there we go. Now we're getting a nice looking leaf. As for the bark texture, we're going to select it. If we go into edit mode, you're going to see that we don't have a mesh here. This is actually a curve object. What we need to do is convert this object over to a mesh. And to do that, we can right click with it selected, go over to Convert, and then select mesh. Now, if we go into edit mode, this is a mesh object, which we can then U V wrap and apply a texture. If we press A to select everything, our UV map is currently not going to work. The texture is going to be very stretched. It's not going to work properly. Let's re unwrap it by hitting U and then selecting Smart UV project and then hit RAP. There we go. We're now getting a much better UV map. Let's create a new material. We're going to call this material bark. Then for this material, we're going to be adding in a texture again from Polly Haven. The link to this is in the text document in the zip folder. Once you've download it, we can add that in and make sure the node regular add on is enabled for this part because we're going to automatically add those textures to the principle Chatter. Let's press control shift NT while hovering over the principal Chatter. We're going to navigate to where the texture is. Mine is right here in this folder, go over two textures, and then select the color map. Let's select the normal map, and then the roughness map on the right side. Let's click on Open. To see what this looks like. Let's press z and go into the material preview. We'll zoom in a little bit. Currently, the texture is a bit too big on our object. Over on the mapping right here, let's set the scale of it up to a round three, and that is looking pretty good. If you want to change the color of this, you can by adding in a new color hue saturation node. We can place that in between the color map and the base color of the principal shader. Now, if we wanted to, we can bring the value down. This is going to make the bark darker or we can bring it up if you want it to make it lighter. It's totally up to you. I might bring it down to around 0.8. Before this video ends, let's make sure the scale of our object is correct. Let's select our tree and press to open up the properties panel. We can see the size of it along the z axis is 2.3 meters, which is a little bit too tall for our scene. Let's select everything and then just scale it down until we get about 1 meter. Right about there is pretty good, and that will look a lot better, and that's going to give us much more of the correct size that we want. Then from here, make sure you press Control A, apply the scale again. Now let's model that simple pot for our tree to be inside. Let's press shift A. We're going to add in a cylinder object. Let's open up this panel and make sure the number of vertices right here is set to about 1:28. That will give us a nice smooth look. Let's scale this down until the size that we want and in front view, we'll press the number of pad one. Zoom in a little bit, and then just place it like this, we'll scale this in and edit mode, scale this part down, something like that. Then in the side view, let's rotate the opening like this. Until we get something like that. Skill it along the x, so it's a bit skinnier as well. Let's just double check the look at that. That's not too bad. Maybe skill the entire thing up. If for some reason, you have some leaves that are clipping inside of it, you can just go into edit mode with those leaves, select one of them by selecting one of the vertices. You can press L and then just press x and we can delete that leaf just so it's not touching the pot. Now with the pot selected, let's go back into Edit mode. We're going to select this top face in face select mode. We can inset it by hitting I. Then press E to extrude, we'll lock it to the Z axis like this. Scale this part down, and then just make sure that it is flat, we'll go into side view, press S, Z, zero, and enter, and then just drag it down and place it right at the bottom of our pot. From here, we'll press Control A, apply the scale, so these scale numbers go back to one. Then finally, if you wanted to, you could bevel the edge. If we go into edit mode and edge select mode, holding the Ault key, we can select that edge. Then we can select that edge and press Control B to bevel it. Then using the scroll wheel, we can probably go something like that. Now we have more of a smooth edge, and that looks pretty good. For this material, we'll just create a new one. We'll call it pot. Then we'll set the roughness down 2.1, maybe bring the metallic up a bit, and that is all we really need to do. Finally, let's add an empty object. We'll press shift A, add in a plane axes. Scale it down a little bit, drag it till it's underneath. Then we'll select everything with the empty as the active object, we'll press control P, and then click on object, but keep transform. Now we can move the empty around and it's going to move all of the other objects. Let's move the leaves into the collection right here. We'll move the tree into the collection as well. We'll double type the collection, and we'll call it tree plant, and then right click and then mark it as an asset. There we go. F here, just save the blender file in the folder that you want, and then we can import it into other scenes. 31. Creating the Coffee Table: Over one. In this video, we're going to create the coffee table that we use for our interior scene. To get started, let's go ahead and select the camera, delete it, and then select the lamp and delete it as well. For this cube object, let's set the dimensions for our base of the coffee table. We're going to press n and then underneath the dimensions right here, we're going to set the x dimension to around 1.2, the y dimension to about 0.7, and then for the z dimension, we're going to go much lower down to 0.0 and four. Now we have a very skinny base just like this. Maybe we'll scale it down along the z a tiny bit more. Let's press control A, apply the scale to that object. Now for the other objects, let's first add in the supports on the left side. This is going to be again another cube object. We're going to add in another cube. Scale this cube down to be about the same size as our base, maybe slightly smaller. We'll scale it along the x to be pretty skinny, and then the z as well will make it pretty small, something like that. From here, we're going to drag it over to the left side and then in edit mode. Let's select this face right here. We're going to select the other face as well. Before we inset it, let's go into object mode. Apply the scale to it. Then we'll go back into Edit mode, press I to inset, in set it to roughly about there or so. Then what we can do to bridge these two together to make a hole in the middle is if we press control E or command D on a mac and then select bridge edge loops. Once we do that, we now have this shape, which is perfect. With this object selected, let's press shift D and move it over to the left side, press S and x and make it slightly skinnier, something like that will be pretty good, and then we'll leave it right about there. Then we're going to shift D it again, move it over to this side. This time we're going to press S and x and scale it out until it matches the rest of the coffee table. Something like that will be pretty good. Then in edit mode, let's make this a little bit different. With the inside faces selected, we can select them by holding the ult key and then left clicking on it like that. We're just going to press S to scale the m in and scale them in right about there or so, press S y to scale the inside outwards, and just do that sort of shape. That looks pretty good. You can go a little bit smaller if you wanted to. Then finally, we're going to add in another cube object. Let's scale this down to be about the same size as the copy table again. Press S and z, scale it to be skinnier, and this object is going to be the top part that goes across this way. In front view, we'll go into the wire frame view. We're going to position this right about there to be about the same height as all of these objects. Then on this side, we'll select it, go into edit mode, box select this edge and drag it over to the left. Now, we're going to have to select this object and drag the top part down, so just drag everything down and edit mode. Right about there is good. We also want to make sure the top part right here is the same width as the base, which along the y is 0.7. Let's select this object. We'll type in 0.7 right there, and now that should match the exact same size. Now, one more detail that we want to add to all of these objects is a little bit of Bevel. Select them all, we'll press Control A, apply the scale to them. Jump over to the modifier tab, click Add modifier, generate, and then select Bevel. Now it only added the Bevel to this object here, so let's zoom in on it. We're going to set the amount a little bit lower, right about the RS, so 0.002. Bring the segments up to around three. Then to apply that modifier to the rest of the objects, we're going to press Control L, and then select copy modifiers. Now the other objects should be sharing that same modifier. Now for some small details. Right now, this object is basically floating in mid air. Let's give it a way to connect to the base here and the right side right here. In front view, let's just add in a small cube. We're going to scale this down, and then place it in between these two objects. So right about there. This is basically just going to be a connector between these two. We're going to move it over to that side, press alt D and that's going to duplicate it, but keep it linked. So when we add the material, it will automatically add it to this object here. Going to place it on this side. Then with both of them selected. We'll go into wire frame, select this one, D select the top right there. In front view, we're going to press alt D, then x and lock it to the x axis. Then all the way over here, let's place it in the middle between these objects. We'll press S and x and scale it outwards until it's intersecting with all of the objects, and there we go. Now they are connected. As for the cups, this is very easy. All we need to do is add in a coaster first. Let's add in a cube, scale it down along the z axis like this. Then for the cup, we're going to press shift A at an a cylinder object. Open up the panel at the bottom here. We'll set the number of vertices up to 128 and scale the entire thing down. Scale it down to right about the size of a cup and then we'll scale it along the z axis, so it's a bit taller. Something like that will be pretty good. Drag it down until it's on top of the coaster, and then in edit mode, we're going to select the top base here, press I to inset, and then press E to extrude and just drag it down until it reaches the bottom of the cup. Then finally, we'll select the bottom part here, scale this part in, and so we get this taper effect. That is basically all we really need to do. We'll select both of them, press all d and move them to this side, maybe rotate it like this, so they're not completely centered, and there we go. We've now added all of our objects, and now let's work on the materials. The material for our base here is going to use the same wood as the wood floor in our interior. Let's jump over to the shading workspace. With this object selected, we're going to select the principle shader, press control, shift and T with the node rengular add on enabled. We're going to navigate to where our textures are. Again, all of the textures are linked in that text folder, and if you already went through the main part of the course, you should already have the laminate floor texture here. Go ahead and select it. Textures, we'll select the color, the normal map, and the roughness map on the right side and go add principled setup. The scale of it is a bit too big, so let's bring it up to around three or so. Then as for the color. We're going to press shift A, add in a color hue saturation node, and place it right here. We're going to bring the saturation all the way down to zero, and then for the value, we're going to go down to 0.1, so we get a very dark looking wood. As for the roughness, we're going to add in a math node, place that right about here, switch it over to multiply, and now this bottom value controls how glossy the texture is going to be. We're just going to bring it down to around 0.4, and that's going to give us a nice glossy look as you can see. We'll call this material coffee wood, and then we'll give it to the right object as well, and the drop nome you just select coffee wood. Now, if you notice that your texture is not very correct, that's because you probably need to UV unwrap it again. With this object selected, we'll press A to select everything, U and Smart UV project and then hit rap. Now the texture should be applied correctly. It does look though that the texture is a bit too small on this object. What I might do is just set the entire thing to two, that will change this object texture, but I think that's okay. As for the railings, select one of them. We're going to create a new texture here. This is just going to be called coffee railing. If you can't find your node setup, you can hit the period key and that's going to zoom in on your nodes right here. As for the metallic, we're going to drive all the way up to one, the roughness, we're going to go down 2.4, and that's going to give us a nice metallic look. We'll give it to this object as well and the drop down menu, select the coffee railing. We'll select the top part, give this a new texture, and for this one, all it really is going to be is a dark color like almost black, and then the roughness down to 0.2. Maybe even 0.1 if you want it to be really glossy. For the cups, we're going to select one of them, create a new texture. We're going to open up the transmission value. This is how we're going to make it look like glass. The weight is going to go all the way up to one. For the roughness, we're going to go down to zero, and now that should give us the look of glass. The last material is going to be the coasters. Go ahead and select one of them, create a new material here. We can call it coaster. Then for this coaster, all we really need to do is add in a texture noise texture. We'll place that here. Take the factor, plug it into the base color, and you can see the texture being applied there. Going to set the scale of it down to around 1.5, the detail all the way up to 15, the roughness as well, maybe to around 0.7. If you want a little bit more contrast, you can add in a converter color ramp, place that here, and drag these values a bit closer together and you should get some nice textures like that. That looks pretty good. And there we go. We've now added in our coffee table, and that's basically all we need to do. From here, we can again add in another empty object. We'll move this below everything. We'll place that right about here. Actually, one small detail that I forgot about, were the little bits right here that are holding up the coffee table. Let's go ahead and add those in. We're just going to add in a cube object. Scale this cube down to be about the size of the leg that we want. We'll go into side view. Scale it down and place it right about there. That looks pretty good. Then if we want to mirror it along the other objects, we can have it selected, click Add modifier, generate, and then add in a mirror modifier, and underneath the mirror object, let's select the base right here. Now it's applied on that side. If we select the y, it's going to apply it to the other side as well. There we go. For this material, let's just use the black glossy right here. Now for the empty, let's make sure that this is right below the legs. Scale the entire thing down. We'll press A to select everything. Press Control P, and click on object, but keep transform. Now we have this empty, it's going to move all the objects for our coffee table. We can name this coffee table, and then right click and market as in assets. There we go. Now you can import this into any scene once you save it in the models folder.