Creating a Traditional Chinese Room Environment in Unreal Engine 5

1. Introduction to Class: Hello everyone and welcome to this new course. In this course, we will go over the entire process of creating a traditional Chinese rule using Unreal Engine five, blender acts substance painter from start to finish. We will go over modeling in vendor extra using Substance Painter and setting up the scene, lighting and materials in Unreal Engine five, all the modeling will be done using blender. However, the techniques used are universal and can be replicated in any other 3D modeling package. The materials and textures will be created using substance, painter, level lot lighting and composition will be done in Unreal Engine five. In this course, you will learn everything you need to know to create the final results that you see in the images and Rayleigh. The same techniques can be applied to almost any type of environment. This course has over 11 h of contact. And we will go at every step in this course together and nothing will be skipped. This course does not have any kind of time lapses so that you can follow every step easily. Start by gathering some reference images to gain some initial ideas and the mood for our scene. We will arrange these reference images in a free program called pure ref. After this, we'll move on to blender and start modeling our main assets. We'll start by modeling things like the writing table, cheers, cheers, Different rocks in our scene. The entire process of modeling will be covered in Blender only. After the model, all amino acids when UV unwrap and export them to Substance Painter. To start with the texturing process will learn to create high-quality and realistic materials. And the key features of toxin Spain, they smart mask, generator, smart materials, etc. After this, we will import all our models and textures into Unreal Engine and set up the same hole there. The next step would be to set up lighting and create a mood and atmosphere for our scene. We will use the new features of Unreal Engine such as human, to get realistic lighting for our scene. And also set up a post-processing volume to further enhance the scenes visuals. Then we will spend some more time creating a lot of small drops to further detain the scene even more like some vases, lamps, the ports, etc. We will end discourse by adding a couple of prompts from books and mega scans to give the environment of finishing touch, setting up different camera angles and taking high-resolution screenshots for our portfolio. So I hope to see you there in the course. Thank you. 2. Setting up the Reference Images: Hello and welcome everyone. In this new course, we will be creating a traditional Chinese room environment from start to finish using Blender, substance, painter, and Unreal Engine five. So let's get started. In this very first lecture, we will be just going through a reference images. You can find them in the course files provided to you. Open up that folder, and over there you will find this reference images folder. And here are all our reference images related to this course. You can just quickly go through them. Some of them are like how our final environment is supposed to look like and the general feeling mood for our environment. While some of them are related to specific designs are objects like this is for a window frame or a door, this small table. These images will help us in creating these specific designs are objects, and the rest of them are just for general feel of the environment. Also, one more thing that I want to mention is that the main reference image that I will be referring to are using is this one. That doesn't mean that we will be exactly following this particular reference image only. We will use this as our main difference that our final scene would look mainly like this only, but we will use other images to take more ideas and add some other objects. Also, you guys are also completely free to experiment if you like a particular thing from some other reference image, you can definitely add that to make the environment unique. Also, these are not all of the reference images. As the course keeps on proceeding further, I will be adding more to this. And you can definitely ask some of your own. You can search reference images related to this topic only on Google or maybe Pinterest or any other image platform. Say up to view and organize these images properly. I will be using a program called PRF that you can download for free very easily. You don't have to use it necessarily as you can view the images normally also in an image viewer like this. But pure ref helps us a lot in viewing them together. And it can help you speed up your workflow. Alright, so to install it, just quickly, go over to Google Chrome, Search pure ref, and click on the first link. You can click download over here. You can select your operating system and you can also donate to them if you want to. But as this is a free program, you can just select custom amount and put in zero and hit Download. Now the download will start as I've already downloaded and installed pure ref. I will not be doing that again. You can quickly download the setup and install it. And once that is done, come over here and search for pure ref. Open it up. And yeah, basically this small little window is pure ref. You can use your right-click to move it around your screen. You can also resize this like this by adjusting the borders. If you want, get a little bigger in size or smaller, you can adjust it very easily. Alright, so to add these images, to be honest, it is pretty straight forward. You can just select them all and drag and drop them onto the pure ref window like this. And you can see all of them have loaded into our scene. And we can view them together. Alright, so let's quickly go over some of the important things of PRF. One of them is that you use your right-click to move it around your screen like this. You can select any image that you want by using your left-click. You can select them, move them, scale them, and you can also zoom in using a scroll wheel. This is pretty basic stuff. You can hit right-click. And we can save our scene from air so that we can open it whenever we want. Google to save. And let's just quickly save this first. I will save it as New seen only in this reference images folder. So it's safe. Wait for it to save. It might take a little while. Alright, so now that we have saved our scene, you can also right-click and load the scene. Whenever you open a PRF, we want to load a particular scene. You can see you can open and load from here. Alright. Next thing that I wanted to show you is if you go over to mode, make sure always on top is enabled when this will help you do is, let's say we are in Blender. And we want to model something particularly like this table. We can place it on a screen like this and we can see easily work in Blender while pure ref stays on top of our screen so that we can view the reference images at all times. This makes her work a lot easier as we don't have to move back and forth between the sender and the image. And we can easily view the reference image over here only on top of Blender. If you want to minimize pure ref, you can just click over here on the taskbar once. And you can see it is minimized and you can bring it back like this also. Next thing is you can double-click on any image. Focus on it. If you wanted to create this, just double-click on it, focus on that particular image. Next thing that I wanted to show you is that it's pretty useful in this. As you can see, all of the images are of different sizes depending on the resolution. I think we don't have to select each one of them and scale them. You can just press Control or select them all like this. Right-click, go to images and normalize and select size. And now they are pretty much all of similar size. And now again, right-click images. Arrange and select optimal. Now they are arranged properly with somewhat similar size so that it is easier to view them. If you feel like some particular image is important, you can select it particularly and just increase the size. So yeah, pretty handy stuff. You can hit Control S to save this scene. And you can hit right-click and just go through the properties and experiment yourself. Because some of them are pretty self-explanatory. For like proceeding through the course. This much is enough to learn about your life. You will be easily able to work with you and read through this. And yeah, I think this is it for this first lecture. In the next lecture, we'll be starting with the modelling process and I think we will be creating this table first. Where is it? Yeah, this one over here. As you can see in this reference image, as I said, we will be using this one as the main reference. You can see this table over here. This will be the focal point of our scene. So we will start by creating this, and we will like one-by-one, create all the important props offers seem like the chair, the table, the shelves, and then we will attach to them and place them together, all that stuff. We will be creating a lot of things and learning a lot of things. I will see you in the next videos, guys. Thank you. 3. Creating the Base Shape of Table: Hello and welcome guys. So in this lecture we will be starting with the modeling phase of our goals. And as I mentioned in the last video, we will start by modelling the writing table. So first let's open up pure ref would be a search bar and type in dollar ref. You can just hit right-click and go over to load, load recent, and select the scene. Wait for it to load. And yet over here, Let's see. So we have this reference image over here and we are trying to make somewhat of this kind of table. Alright, so now back in Blender, I have opened up a new blender file. You can just press a to select everything and then press delete so that we have an MTC. Also, I will turn on my screencast keys so that you can see each and every shortcut that I perform. As you can see, whatever I'm doing, even the mouse clicks are available over here so that you can easily follow me. So yeah, the first thing that I want to do is if you will look through the reference images, there is also a reference image for this table design, which is quite handy. It is really good if you have Lego orthographic view of any kind of object that we want to make. It makes it a lot easier to model that object as the dimensions and everything, right? So what I will do is come back and vendor shift plus eight or first press one. For the front view like this. As you can see, if you press one, you will get in the front view seven is for top view, 3s for the right view, you can see over here the views. So I will press one and that is our front view. Press Shift plus a to add a new object, and I will add an image. I will add a reference image. Quickly head over to my tutorial directory. And in reference images folder, just select this reference image like this. And yeah, now it is here in Blender. Let's see. One thing that I will do is I will select this window and I will just move it to my second monitor. And you can also do the same if you want to, because it is kind of blocking the view right now. So I will just move it over here. I know you cannot see it, but you can open it up in your own PC. I'm just basically viewing this immediately right now. Alright, so before we actually start modeling our table, the one thing that we need to make sure that our scale remains uniform across all the objects that we model. So by that, what I mean is that we need a reference model that we can look at and we can scale the objects accordingly according to that reference model. So if you go over in the course files, in the exports folder, you will find a human reference model that we can import into Blender. And we will use that as a reference for scaling all the objects so that the scale is uniform across all the objects that we model. So to bring it in Blender, what we need to do is go over to File in both the x and over here it is in the exports folder. Just select it. And yet, the human model that we can use to scale our objects accordingly. But right now this human model also is pretty huge. If you go over in the item, we can check the dimensions from here and we can scale it accordingly first. So I checked on Google, the average human height is around, I think 1.7 or 1.8 m in height. So that would be the z axis. So I will just select this complete object, press S, and scale it down the z axis. We're only seeing the zed axis right down the scale on it. It is around 1.81, 0.8 m. So yeah, I think this would be a reference human model. So now we can scale the table according to this human model. Select the reference image, press S to scale it down. Let's see. Still pretty big. This image is fine. So you can see the scale over here for this reference image. It is 0.4 721, All Access just rounded off to 0.475. So now as you can see, I think our table looks pretty good according to the human model in terms of size. So now I will press one again and start actually modelling the table. We can select this reference character, press M to move it to a new collection. And now let's rename it as human rights. It okay? And you can see over here different collections created that we can easily enabled or disabled whenever we want. So let's just disable it for now. I will select the reference image, whereas G, to move it around. And you can lock it on any access. So if you press Y, you can see the movement is logged on the y-axis. So make sure to first plus G. Then by moving back over here. You can do the same thing with like any of the movement, rotation or scale. You can press S and then scale it on the x-axis only by pressing X. And you can see we are scaling on the x-axis only. Now to just cancel this movement hit right-click. And yet that is cancer. Alright, so make sure to move it a little bit backwards on the y-axis like this now plus one for the front view. Shift plus a. And let's add a cube. You can enable or disable extra from over here so that you can see through your model on the reference image. Now when you select the cube and press S to scale it down like this, with all the axis. There's Zhe and move it over here at the top like this. So first we will be just creating this top part over here, this one. So now again selected press S then x and scale on the x-axis like this. Make sure that it is equal from both the sides like this. All right, next, we also need to scale it up on the y-axis. So press S and Y. And let's see. I'm checking the dimensions over here. Maybe we will give it a length of around almost one meters, so 0.95 m. So yeah, I think it looks pretty good. I'm just eyeballing this and yeah, this looks fine. Now what we need to do is first one, enable X-ray. Now as you see all these ridges and detailing, let's create that now. Before that, I will just quickly save our file so that none of the progressive lost mixture to just keep saving your files frequently, go over to File Save. And I will save it in the directory only in the blender files folder named as Chinese Room. And hit save. One more thing that I want to do before proceeding is if you go over here and click on this arrow, you can enable this option, this cavity. This will help you make the edges and the local little bit better. And you can easily view them. Because if you disable it, they are a little bit tough to view. Enabled cavity and shadow. Yeah, it's pretty good. Rest one again, enable X-ray. Let's start now press Tab to go into the Edit mode. And before proceeding, make sure you apply the scale. Whenever you change the scale of the object, we always need to apply the scale. So press Control a and apply the scale. You might think, what is the reason for this? Because when we use certain properties like Bevel and they will insert, extrude anything like that. It is necessary that the scale is applied. What I mean by that is let's just quickly show you in action. I've created a cube. By shifting, just add a cube. You can press Shift plus D and duplicate it like this. So what I will do is basically I will select them both. And I will press S and X. You don't have to like copy me for this. I'm just demonstrating something that's x and scale them on the x axis like this. Basic stuff. Next word I will do is I will select one of them, press Control a and apply the scale. And the scale is not applied. So let's say I tried to use some kind of property or some kind of action. Select this one, press Tab, press three for Face Select. One is four edges, two is 31 is for vertices who is four edges and threes, four faces. So let's select this face and I want to insert this like this. As you can see, it works pretty nicely and uniformly you can insert this, this by pressing E. So we insert by pressing I, you can risk tab select this face press I. And you can see we are easily able to insert this one. But if you select this one, press tab, select this face, press I. And now you will notice that the inset on both of them is pretty different. As you can see, this one is pretty uniform and this one over here is kind of stretched out because we stretched out this object like this. That is why it is stretched on the x-axis like this. And it is not fixed because we did not apply the scale. So if I just select this one now based controller by the scale. Now if I try to insert this again, you can see now is also perfect. So one thing to remember, whenever you change the scale of your object, make sure to apply the scale. You might not realize it might fix a lot of your problems whenever like modeling. Select this press Control E, apply the scale and now I will press one again. Press tab for the edit mode, enable X-ray. Let's see. We can press Control R or control R is used to add edge loops like this. It will add a complete edge loop through your model. To press Control R, add edge loop this way. There's G, then z. And move this edge loop over here at the top. Add another one, place one over here. Again, add another one over here, like this, pretty simple. Next, what we basically can do is just press Control R, add edge loop right in between them. So to add an edge loop in center of two edge loops, you just need to press Control art and you can move it like this, right? So just hit right-click and we placed exactly at the center. Press Control R. Add another one. It right-click. Now to select two edge loops at the same time. Hold Alt and select the first one. Like this. You can hold Alt and use your left-click to select the complete loop. Now hold Alt and Shift, select two of them at the same time, like this. And now we'll just press S to scale it outwards like this. You can also scale it a little bit more on the y-axis plus S Then why? And as you can see, it is very sharp right now. So select it again. Now press Control V, bevel the edges. As you can see, we are beveling it. Like kind of smoothening it so you can increase or decrease the level by moving your mouse. And you can use the scroll wheel to increase the amount of segments In-between segments is like the amount of smoothness. As you can see, you can increase the amount of segments to make it very smooth. I don't think we need that much. Maybe two or three segments would be pretty good. And something like this. Now, select it, right-click and select Shade smooth. And as soon as you get Shade smooth, the object is very Vietnam. So to fix that, you can see we actually don't need these lines. We want it to be smooth, shaded. We just right-click and choose smooth it again. And to fix this issue is come over here and the object data properties go to Normals and select autism. As soon as you do that you will see everything is now pretty good. But as you can see, it is kind of smooth over here. And we see these edges over here. And that is because we did not scale it up properly. So what I will do is hold Alt, select this loop and this one, and this one. Now this plus S then y and scale them inwards. You see these edges. Make sure there are like equal on both the sides. So I think that is pretty good. That looks fine to me. I will hit Control S to save this one again, enable X-ray. And we also have this small section in a table. So press Tab, press three for Face, Select and select this top face, rest one. And enable X-ray again. Let's move it a little bit downwards like this. And basically just press I to insert this here I think, and just press E again, extruded outward like this. Something like that. Or the size can be a bit off. But that does not matter that much as you can see where it does not matter that much. We don't have to exactly follow the reference image. We can definitely eyeball a couple of things. If you're going to want to add this, you can also completely skip it out. All right, Next, let's see, we have these boxes like tin created in our table. That is a little bit more detail. So before creating that first, let's create the remaining of the table, the base design for it, and then we can focus on detailing it. A bit more. Suppressed one again. Shift D. Let's add another cue scaling down. Enable X-ray and this time place it over here like this and scale it according to this box. S then x, scale it up. Now press S then Y. Also makes sure to open up your ref and keep on looking at this image over here so that you know exactly what is going on in this table over here also like this, as we can only see it from the front, we need to make out what is at the back. Yeah, That is no big deal. I think we can definitely do that now select this press S1, so the SDN Vi and scale it just about in here. I think that's pretty good in my opinion. Next thing that I want to do is I just want to use the mirror modifier to copy it on the right side of the table. So that's pretty easy to do. You go over in the modifier section and select the middle. Right now you will see nothing really happens because the origin of this is over here and the mirror modifier works according to the origin of the object. So we want to mirror this object on the axis of this object so that it is exactly over here according to this big objects. So I will select this one in the middle object option over here. Take this, drop it, and select this object. And you can see it is mirrored perfectly. Now, if you don't really understand it, I will just quickly explain it once again, I will add a cube listed over here. And let's say I add a mirror modifier to this press Tab. And you will see it kind of does not work properly. Let me show you why. To make it work properly, I will just press Tab, press Control R, add an edge loop right in the center like this. So hit right-click, and I will just delete this face completely suppress. So just press three, select this face, press X and delete the vertices. You can see basically the cube is in half now. And now I can use the mirror modifier. And you will see it will work perfectly now. This way we can use a mirror modifier to like copy it on the other side of the object. And as you can see, there is the origin point. So the mirror modifier is a metering the object according to this orange color origin point only. So yeah, we are mirroring across this point. But if you want to change the origin of the mirror modifier, we need to use this option over here. So let's say I add another cube. This time, I would like to have them. So just scale it down, press Shift plus D and place this one over here. And now let's say I want to create another cube right over here, like this, exactly to the right of this cube. So for this, we can easily use the mirror modifier. Select this one. Go over here, add a mirror modifier. Click on this middle object, and now it will use the origin point of this cube. So just click over here and you can see it is mirrored perfectly on the x-axis. If you select the Y is not really working because for disabled x first and let's place it a little bit like this on the y-axis, then enable the y. And you can see it is now mirroring on the y-axis. Also. You can use multiple axes at the same time. Them like this. So you can see it is moving on the x, y, z axis according to this origin point. If you select this cube and move it, you can see all the cubes are moving because they are being affected by this origin point, which ultimately affects the mirror modifier. And yeah, that's why the position of them is changing. Yeah, it was just a little bit of demonstration. Show how MIT and modify works as it is a really powerful modify. And you can speed up our workflow a lot and we will be using it a lot in this course also. So now to come back to our table, we have easily mirrored this object. You can see over here, you can enable or disable the mirror modifier like this. Easily mirrored this, and we have mirrored it according to the origin point of this object over here. Not the origin point of itself, but according to this particular object. As you can see, you can select it. Now, there's three. Let's say I scale this face down. You can see both of the phases are being scaled down. Will help us a lot. We can only work on the left side of the table and the right side would be done on its own. And I think this lecture is pretty long now, although we haven't done much. But I think it is enough for this lecture as it is a pretty long video. So I will just hit Control S and save it. And in the next video, we will continue working on our table and modelling. So yeah, thank you guys for watching. I'll see you the next one. 4. Detailing the Writing Table: Welcome guys. So let's continue with modeling a table. I will quickly this enables swing cost keys. And yeah, let's start. Next. I will be creating this piece over here in the middle. You can just press one for the front view. And the view this is, let's just add a print, press Shift plus a and add a plane. It is added over here like this. Rotate it, then this x to lock it on the x-axis, then plus 90 on a number back to rotate it by 90 degrees. Okay, So now make sure that it is in the center. So just select this object over here and type in zero over here in the location in the x, y, and z. You can select this item tab from over here. Also, if you don't see this complete menu over here, you can just press N and this will appear. Then select the item tap from over here and you can put in the transform values to 000 so that it is exactly at the center. The reason I'm doing this is so that you can see it scales up perfectly over here and over here. And now I can easily use the mirror modifier, divide it in half, so that we only have to create the left side of the model. So press Tab, press Control R at edge loop right in the center and then hit right-click to place this edge loop in the center. Press one for the word de-select, and select the right side would seize best x and delete them. And now pretty simple, you just add a mirror modifier and you can see it is easily duplicate it over to the right side. Now this tab, and let's start creating this first one towards the Select, select the bottom vertices. Let's place them over here. Press Control R to add this edge loop over here. Next, select these two words, these pesky, and then make sure to present, to lock it on the z axis like this, so that you can move it this way. Press Control R, add another edge loop over here. Again, select these two risky than X, lock it on the x-axis. Now just select these vertices and place it back over here. Now what we can do is basically select these two risky and create this easier way to do this would be just undo everything. And let's come back over here. Select this word is the first press E to extrude. And just place it over here like this, 12,345,678.9. So the reason I'm counting this is so that I exactly create nine vertices over here on this side also so that later on I connect them. There is no problems. So 12,345,678.9, not worry, you don't have to follow this exactly. It can be a little bit off. Now to join all of these vertices. There is a pretty easy way. The long way would be to just select the first two words season, then select these two, then press F to fill in the bass. Easier way would be to just press to go into edge select mode, select this edge, and keep on pressing F. And you can see all the faces are being filled out very easily. Now it is done. Next, select the stewardesses risky than z, and scale it in. This way. We can just move this vertices over here like this. Also, if you want to place these two exactly together, we can use snapping. So come up over here and select vertex so that it can snap to vertex. And there is a shortcut to use snapping. You press G and Z. Select this word C plus G, then Zach to move it. Then hold Control and move over this vertices. You can see instantly snaps like this. And we can see this token. That means it's snapping to this vertex right now. So now they're perfectly straight in line. You can see right now, when I add a loop is controlled. Art, add a loop. It is kind of slanted because the edge over here is slanted. So that's why this is also becoming slanted, but we want to add a straight edge loop over here. So to do that, press Control R and first add an edge loop like this. You can see there are some shortcuts over here, like even that is currently off. So if I press E, Now, even is turned on and you can see it is even more slanted now because it is copying the bottom edge. But now, as you can see, we have another option that is over here, flip. So press F to flip this. And now it will follow the upper edge with this trait. That's where it is straight now. And now we can place it over here. Select these two, press E, raise x to extrude them till here. Let's not join them. You can join them if you want to, but let's keep a little bit of space over here. Also makes sure to enable clipping in the middle modifier. What this will do is let me just quickly show first, I will disable clipping. Select these two vertices and if you move them past the minute modify, you can see they're like merging with each other. But if you enable clipping, they will join right at the center and not really collapsed and merge with each other. This can be pretty useful right now. We can keep it disabled or enabled does not really matter because we are not really joining at the center. So let's just keep it turned off right now and let's proceed further. I will add another edge loop listed over here. Select these two vertices and extrude them downwards. Basically, we are doing the same thing over and over again. Right? So this is overhead is done. As you can see, the mirror modifier is doing its job perfectly. And let's move over here. Press Tab, press Control R. And you can use Colvin to increase the number of loops like this. Let's add to S to scale them down. Select them both risky X, lock it over here and place them like this. Again, add to another edge loops. Let's move on over here. We have a little bit of space around here. So press Control art to add another issue so that we can create it this way. And then now I will just quickly finish it up. And you guys can also do the same. This is pretty protected stuff, so I'm pretty sure that you guys can also do that pretty easily. Alright. Now we also have to join these two areas over here. So what we can do is basically press Control R to add two edge loops. First, place them over here, scale them down. And now I will add one edge loop like this. What I will do is press G Then X to move it on the x-axis. Hold control. And if you remember, we can snap it to this vertex like this, as you can see, it both at least snaps this way. And again, add another one. Hold control and snap it over here. And now we can just select these two vertices and these two press F, join them together. And similarly, I will do the same thing over here. I do give them down. Again at two of them. Select the first one and z, the next old control and snap. Again, g and x hold control and snap. Now just make a face plus f. Alright, so we have created it successfully. I think it looks pretty good. Let's move it out here, the front. Now we want to give it a little bit of thickness. Again, there are two ways to do it. We can just select this press Tab to go into a mode, press a to select everything. Then just press E to extrude this outwards like this. As you can see now the thickness is there. But I think the better way to do this would be to use a modifier. So let's just undo everything that's Control a first and make sure to apply the scale. And now I will just add a solidify modifier. And as you can see, we can control the thickness of this very easily using the modifier. I think it makes it a little bit more handy. Now let's just hit right-click Shade Smooth, and make sure to enable auto smooth to fix all of this. Also, we can add Bevel. As you can see, to make the edges a little bit smoother, we can maybe increase or decrease the amount of bevel. Also. Let's increase the segments so that it is a little bit smoother. Now come down over here under the shading section and make sure to enable hardened normals. As you can see, it makes a lot of difference. Now. It looks much better. Alright, let's hit save now and proceed further. Rest. One for the front view. And let's see. We can maybe select this press Tab Control R to add an edge loop to this. Create this section over here. Also, I will quickly open up your ref and see how exactly the table looks over there. As you can see, we have something like this over here. What we can do to create this as select this first, the staff to go into edit mode. Let's add an edge loop this way, press Control, Act, which looks like this. And hit right-click to place them in center press S and X and Y, and scale them over here. I think till here is fine. I'll select this loop also and move it a little bit to the left. Select these two faces. Press three for Face, Select and select these two faces. One. And let's see. I think it is a little bit thicker. I will move their eyes, look back till here only. Again, press three, select the two phases. There's one for the front view and now press U to extruded, extruded till here. And then again pesky once again and extrude it till here. Alright. So we have something like this. Now, as you can see, we have another box like thing over here. So we will create that. Now. What we need to do for that is we need to basically join these two phases though, but we need to join them properly, like we need to bridge the book. So there's a command for this, just hit Control plus e. After you have selected both these phases, press Control plus a0 and then select bridge edge loops. So as you can see, they are now connected properly. You cannot just select them both and then press F. It won't work properly. As you can see, this is something very weird. So just select them both, right-click and Control E and then bridge edge loops. Now we have this thing over here, and now we can select this face, this face, and this one. Again, press one for the front view, risky and extrude it till here. Pretty simple stuff. You can see our model of the table is coming along pretty well. I will just select this and move it towards the right a little bit, just a tad bit. And select this and move it a little bit in the front. Alright, save and let's move on further. Restaurant again for the front view. Let's create this thing over here. So one more thing that I want to show you is you can select any object and then press Slash on your number back. And you can isolate that particular object to work with that easily so that none of the other objects, like like none of the other objects are in your way and you can do it properly and work on it. Specifically. Slashing in on the number pad, you will come out of that isolation mode. It is a pretty neat little shortcut that you should remember. So let's continue. What I basically want to do is I will just select this reference image slash so that I can isolate the reference image, then press one. And now I can easily work on this thing over here, press Shift plus B. And instead of adding any of these, I will add a single word, so add a single vertex. So if you don't see all these options over here, don't worry, but you basically need to do is I will minimize your risk for now. So to enable all these options, you need to go into Edit Preferences and we just need to enable an add-on. So in the add-on sections search for extra objects. So by default, this is disabled. You can enable them both, and you will see all the extra objects of fear in your shift plus a menu. After enabling them both close this press Shift plus a go to Mesh single word at a single vertex. All right, So now as you can see, a single vertex has been added exactly what this orange color point. To see it properly, just press one for the vertex select, save this over here. Press one for front view again. You can see we have this vertex listed somewhere around here like this. And again, we need to just start extruding. Resolve the shape. You can also lock the vertex on the z axis while extruding gene and z. And you can move it in a straight line this way. Again, keep on pressing E to extrude it. Over here selected press E and X completes it like this. E and Z. They are pretty basic stuff. Again, this E and Z, to move it in a straight line. So this thing, we have already done a lot, so I will just quickly finish it up with and you guys can also do the same. Eden x and move it right over here. We can just select these two and press F, join them together like this. Now press a to select everything. Then again, press F to fill out this face. And we have basically created this flat shape. Now if you open up the pure ref, we can see this kind of 3D. So let's see how we can do that. We cannot really just, first of all, let's print slash to come out of the isolation mode. And let's bring it out over here. Now let's see if we can not just press Tab to select this and press U to extrude this like this. And create something like this because I don't think it looks good. Excellent. Do this. Alright, so again, I will select this thing only now, the slash 74 top view. We cannot really see anything right now. So I will just, for now, I will add a solid if I modify it so that I can see it properly. So now what I basically want to do is I want to move this object right at the center over here. This is the origin point. So to do that, just select this press Shift plus S and then select selection to cause this thing. This option will move the, whatever you have selected to the cursor. The cursor is this thing which is currently add the world. Or you can move this cursor by holding Shift and using your right-click. But that is really not that important right now to move the location of this curve though back to World origin, just press Shift plus S for select closer to world origin. And now we can select this object and then use the command Shift and selection to cause. This will bring this object towards the right. Now it did not work that properly because the origin point is far away from this object. So what we basically can do is press Tab to go into the Edit mode. Let's select everything. And whatever you do. In the edit mode. If you're moving any kind of object, the origin is not affected when we are in the world, but it is affected when we're not in the HTML. So right now I'm not in the edit mode. And if I move the object, you can see the origin is also moving with it. But if I go into edit mode and then I tried to move it, it does not really move. I just wanted to place it close to the center. Now I want to rotate it at 45-degree angles. Superstar, then type in 45 in your number pad and place it just like this along the centre. This week. You will just understand why I'm doing all this. I will remove the solidify modifier for now. We have something of this sort. So we have the origin point right at the center, and we have this thing placed at an angle of 45 degrees. This way, I will now add a mirror modifier. Let's add it on the y axis like this. And you can see we're kind of getting what we want it to stop. Enabled flipping and rigid invite and move it like this so that they will join together. Now, just press Tab again, press eg, select everything, then press E and extruded. Like this, but this does not give us that good result. So what I will basically do is first recipe. Then I will press Y, lock on the y-axis and then join this way. This way it comes out much better and it looks pretty clean. Now what we can do is first let's shade smooth this and also enable auto smooth tab again. And just select this edge over here. Hold control. And you can deselect all of these vertices like this. And make sure only these vertices are selected over here on this side of this object. Now press G and X and move it in the forward direction this way. And I think this looks pretty good. And now we can place it on the corner. We can add a little bit of more detail. We won't be adding all this stuff. I will just select this face. So press tab for edit mode, press three for fish. Select this press I to insert this just a little bit. Then press E, extrude it inwards. Yeah, I think this looks pretty good to come out of the edit mode. Currently it is over here. Explicit like this. And make sure to again rotated by 45 degrees. So best art the lock on the z axis and type in 45 again, so that it is like this exactly at 90 degrees. One more thing that I want to show you is if you press G and then you can lock it on the z axis and g Then X lock on the x-axis. So yeah, this much you already know, but if you press G, then Shift plus x. It will only move on the y and the z plane. It will exclude that particular x axis. So let's say if you press G, then you press Shift plus z, then it will not move on the z-axis only on the x and the y plane. This is also pretty useful as now I want to place it correctly over here without moving the z, g, then Shift plus z and place it over here like this. You can also hold Shift so that it moves slowly and you can make precise movements this way. Alright, so it looks perfect. An expert I will do is select this and I think you already know, I will add another mirror modifier that mirrors is on both sides of the table. This mirror modifier only works on this particular object. It uses this originally origin of itself. But now I will add another mirror modifier that we'll use this table as the origin point for metering. And you can see it mirrors perfectly on the x and y also. We have it something like this. And yeah, I think this looks pretty good. Hit Control S to save the file. Best. One again. Let's keep on moving further. It is a little bit off, but I don't think that really matters that much. Alright, let's see next what we can do. Press Shift plus eight. Let's add a cube. Scale this cube down. Over here like this. Scale it up. S then x, scaled on the x-axis. So yeah, this much, Let's bring it out in the front. And best S and Y. Just scale it. I think this much only one again, enable X-ray. Now press Tab, go into the Edit mode. First, stab, rest three, and select these two faces. Then press one for the front view, enable X-ray. And just insert this till here. And you can see it is not really inserting properly. Because if you remember, we have not applied the scale yet. So press Tab to come out of the edit mode and now first select the object, risk control a lie, the scale. And now again, if you will try to insert that, I think now it will work perfectly. As you can see. Now it is inserting perfectly and insert this circle here. Then rest x and delete the phases. Now again, we want to join these two edge loops. Again, we will use the bridge edge loop gamma. So first, hold Alt and select this loop, then hold Shift and Alt select this loop, then press Control E and rigid groups. Both it. Next we can create this small thing which is inside, I think it is pretty easy. I think creating this is pretty easy to do. So let's select the image. I mean the reference image, press Slash plus one. And this time, I think, I mean, I can add a plane, rotate it by 90 degrees. I think it is a symmetrical objects. So we can use the mirror modifier. Scale this down till here, right, like this, so that it fits perfectly. Let's apply the scale births per staff has control our add a loop in the center here, right-click and delete the bottom part. Add a modifier. Let's select the middle and make sure to disable the x-axis and select the white. And yeah, let's see. I think it would be difficult for us to work in this way. So I will just select this vertex and this x and delete it. Now we can select this vertices and just easily risky again and again to extrude it. And you can see the middle modified is working correctly. Join them at the center, make sure to enable clipping first, then plus D again to move the word c and join them over here like this. Let's controller, Let's add another vertex and yeah, that's perfect. Estab plus a f. Alright, again, press Slash to come out of the edit mode. Let's place it right around here. I think I will decrease the thickness of this a little bit less than y. That's fine. I guess. Scale it up a little bit so that it fits perfectly. Good. I will not give it extrude. I will just add thickness. By adding a solidify modifier. Make sure to apply the scale. Right-click, Shade Smooth and enable auto smooth. Estab, enable X-ray, select the top vertices and just move them up a little bit so that they are completely inside this object. And yeah, I think you know what we need to do now we need to again add a mirror modifier. And this time, I will use the middle object as this cube. And you can see it works perfectly. Let's hit Save. Now. What I basically want to do is we want to duplicate this four times and also on the back and sides. But right now, I won't do that. The reason being, if you see over here, we still have to detail these pieces a little bit. It's not exactly detailing, but we will add a couple of more edge loops, extrude them, is to make it a little bit better because right now it looks pretty clean and pretty boring. So I will not duplicate them right now. When we detail this completely, then we can duplicate it so that we don't have to like stuff again and again. I think this is enough for this lecture. Again, this is a pretty long lecture. I will hit save now and most probably we will finish the table in the next one. Thanks for watching. I'll see you in the next one. 5. Finalizing the Table: Hello, Welcome guys. So let's continue with detailing our table now. Alright, so let's start. I will be starting with this piece over here. Press one and enable X-ray. You can see we have all these ridges created to add more detail to this piece. So let's tune the same. What I will do is I will just isolate this first. Stab, the editing mode press Control, and add edge light like this. Now, you can just select the faces on this edge loop for risk-free will. Select all the faces and extrude this inwards. This week. I will also add a bevel modifier. You can see it makes it a bit smoother. Shapes moon enabled hard normals and also enable auto smooth from over here. Another thing that I want to do before proceeding is we have this appearing on the front, but I also wanted on the back side. We can use the mirror modifier to do this. The way to do that when we first press Control R at right in the middle over here, right-click. And now enable X-ray and just select this side of the vertices x and delete them. Now we can basically add a mirror modifier on the y axis. So now as you can see, this loop that we just created and extrude it is a beard over here also. There is a little bit of problem because we deleted all the Word sees. Now it appears follow. So to fix that, again, very simple, hold Alt and select this inside loop. Makes sure the first enable clipping on mirror modifier. Now press E, the invite and join them like this. Perfect. Now we embrace tab and add a couple of more edge loops. In the middle. The industry will extrude this outwards. Let's add the last edge of it. Move this a little bit. It works. Now I will add the last age group like this over here and selected all threats extruded outwards again. And yeah, I think this looks pretty good. Now, let's see. If you press one. We have this duplicate it four times. So obviously one way would be to just select them both redshift plus D to duplicate plus x and just copy them four times over. I think a better way to do this would be using modifiers, select this, and now add the array modifier. Modifier. You can see we can basically say set the distance on the x and increase the number of counts. And we can easily duplicate anything. This way. You can increase or decrease the distance. You can also like in a diagonal way by adding y value or writing z value. There are a lot of options with this versus set it back to zero. Now we need to obviously sent this to one on the x. Like this. The count back to for now if you press one and dry seeing this, you will see that it does not really fit perfectly with our reference image. I think the reason for this is, let's just disable array for now. The reason for this is the size of the middle two pieces, a little bit smaller than the one on the ends in the reference image. But I don t think that really matters to us. I will enable the array and just to fix this problem. But I will basically do is press Tab enable X-ray. We can only select this piece because the rest of them are being created by the modifier. So we cannot really, we can just add it. This one, the one we actually degraded. Just select all the word cyst is moving over so that it fits perfectly with our table. Here, I disable x-ray. And yeah, I think that looks perfect. Now as you can see, this thing over here is incorrect now. So now instead of fixing all the mirror modifier stuff, there is another easy way to do it. What I can do basically is just plus one from Grandview first. Now, as I mentioned earlier, if you press Tab enable X-ray, you cannot really edit this piece because that is being created by the modifier. So to edit this, we need to apply the modifier. Now I will just select this, go here and hit Apply. And now if we press tab, you can see you can edit this VCE also. Move this like this, because now we have applied the modifier so we can edit this in edit mode. And now plus g, z and move it outwards like this. And yeah, that's pretty much fixed it. Now as you can see, we still have this mirror modifier, bulky. So right now we cannot really edit the bottom part of this. This is just for demonstration. We don't really need to exit the bottom part. But now if you apply the modifier, come out of the edit mode, apply the modifier. Now you can see, you can indeed the bottom, but also, but again, we cannot really ended the thickness right now because the thickness is being added by the modifier. I hope this makes sense. We can undo the last mirror modifier because you don't really need to apply it right now. Next we can just add the array modifier restaurant for the front view. And let's see. We need to give it a little bit more distance. I think 1.15. Let's put in 1.155. That looks pretty good to me. Increase the count to four. We have created now this side of the table. So let's just select this. Again, add a mirror modifier. Select the middle object as the table, and select the y-axis. Pretty easy, I think by now, you should be easily able to use the mirror modifier. Now I'm doing the same thing over here. And select the Y axis. We're good to go. I will just select both of these pieces, redshift plus d. Let's move it over here a little bit inwards. And now just remove the modifiers that we just added. Basically, I just want a single piece over here. So I will remove the mirror modifier, remove the array modifier, select this, also. Move the mirror and remove the attic. We just have the single V. Select this. Press three for the right-side view this time and press R then z, rotate by 90 degrees. All right. Let's press seven for the top view enable X-ray. I don't think we can already see right now. You can also press Control plus seven for the bottom view. And I think that works much, much better. And we can easily place this. Now. This was the thing that I forgot to mention. If you breastfeed, it is for the right side view, but if you press Control plus three, it is for the left side. So it has 7.4 top controlled plus seven is for bottom. Now let's just press Tab. Go into the Edit mode for both of them. Enable X-ray and select this side. And move it. Again. I will select this and again add a modifier to copy it. On the other side. The table is coming along pretty well. Let's just hit Save. Next. Let's start detailing the top piece. So this one enable X-ray. Again, you can see all these ridges created. So what I will do now is instead of like reading the whole table, I will just divide the table in four parts. And again, I will use the mirror modifier so my workload is reduced and I only have to do it in this one side and the rest is done by the middle of modifier. So just press Tab. And risk control. R and h looked like this. We'd right-click in the center at age group like this also, right-click and in the same 74 top view enable X-ray. Select this side x and lead the vertices sitting beside this x and delete the word season. We now basically have one-fourth of the table. We can use the mirror modifier, duplicate it on the x-axis and also on the y-axis. This is also really useful. Basically have to design the table on this one-fourth. And you can see the rest of it would be handled by the mirror modifier. Pretty easy stuff. First one, Let's come out of isolation mode. Flash. This one again, enable X-ray. And I will now just add a bunch of edge loops. Risk control. I add one over here, add another like this. Or here, or here. All right, now I've addressed three for faith tillich. And just select this face. And this face. Legs are the same edge loops over here also just going to pull our blending like this. And I will add one over here also, we don't really have the reference mic, but I think we can eyeball it pretty easy. I'll select this face. This face and this face. This one again for a front view enable X-ray. Now press I to insert this. Makes sure the scale is applied so that it inserts perfectly. I again, something like that. All right, now we basically need to select all the edges that we created. So this one, this one will say, look, this, this one, this one. Hold all, select this 11 over here. Hold Alt again, Shift and Alt and select all of this. Now instead of pressing E plus E and extrude faces along normal, because we have faced along different normals. So select this option this time. There's risky extrude faces along normal and just push this in words just a little bit. Next we can select this, add a bevel modifier, shading or the normals. And yeah, I think this looks perfect. As you can see, the whole table is then by the mirror modifier. Basically just had to do this quarter of the table. And yeah, that's pretty cool. Let's just hit Save on a fight. And the last piece to do is this one. So again, what I will do is currently already have the mirror modifier. But what we can do is we can also press Tab Control R, add a loop over here. It right-click, add edge loops over here it right-click in the center. Enable X-ray restaurant for vertices. Select all the left side vertices plus x and delete them. So we already have the middle on the x. So now also enable it on the y. And you can see, now again, we have to do only this part over here, as you can see from disabled men and modified and we only have two. I read out this part and the rest would be done by the middle modifier. Let's start doing that. Slash one. Enable X-ray. Let's see. First let's select this face, this face, and these two faces, I for insert. Okay, right now you can see inside is not working properly. And the reason for this is we haven't applied the scale yet. Select the object, risk Controlling, apply the skin. Now let's try doing that again. Works perfectly. Now. Again said this didn't hear Yeah, in here is fine, I think because you're feeding said more than this. As you can see, it will start to overlap and some weird things will happen. There's just select this loop. This loop. First, let's just select the outer loops of both and extrude them inwards. Select this loop now, and I will extrude them outwards. Add a bevel modifier. Enabled both hard and normals and or the smooth. Now I think we can leave it at that and just do this side also for press tab. And let's select these two faces. And again, we just need to insert this a couple of times. I've pretty much stacked. Just makes sure that your insert is not overlapping. That's both. Hold, Shift and select the groups. Alright, so now we've saved and I think our table's pretty much done. One for the front view, enable X-ray. And you can also see the design lighting created over here. So obviously, what I will do for now, just first, let's select all the tables. Make sure everything is selected. This m, and let's move this to a new collection. And let's rename this to writing table that we can easily identify it later on when we do have a lot of crops. As you can see, we can enable and disable it anytime we want. So let's disable it for now. You can see this little ornament type shape created over here. So what we can do is begin redshift. They go over to single word at a single vertex. There's one for what? Select, Move it over here, and we can start tracing it out. But I think it would be really tedious and counterproductive because it does not add that much to our model. Our model already looks pretty good. In the actual scene. It would be viewed from a distance. So these designs that women spend a lot of time on won't even be really visible that much. But if you still want to add them and don't want to waste as much time. There is a quick way to create this. So I've been just disabled this again. The quick way wouldn't be shifting. Again, add a single vertex. And instead of now, unlike racing it out completely, but you can do is you can just trace out the basic shape like this. That is pretty fast. I think. We'll quickly do that. And I will show you a couple of ways in which we can add detail. If you want to. I won't be adding it. But yeah, I'm just quickly showing how we can do such things. So I'm just quickly tracing it out completely. I mean, as you can see, if student takes a pretty long time and if we had to trace it all perfectly, equally, take lot of time. I just couldn't get finished just too late. Showcase. I'm not really doing everything perfectly. But this method is like a lot faster than the first one. And obviously it does not look that good. But when viewed from a bit of distance, I don't think it would make that much of a difference. I'll just join these two words. See sutras. And yeah, we're pretty much done now. Alright, so the first thing that you can do is you have created this very basic shape of the design. Let's enable the Azure tables so that we can do it properly. Select this, bring it out over here. So the first method is very simple. You first raise everything out completely, then you basically add a skin modifier. And you will see this monstrosity. Just press Tab, press a to select everything. Then press Control a. And you can scale it down. Make sure to remember this shortcut controlling. And you can see we have kind of solidified that shape that we just created. Shapes, mood, board and work on this, you can just enable smooth shading from over here and now enable auto smooth. You will notice that although it does not look perfect, but if you go from, let's say this much distance, it looks pretty good and then duplicate this. I don't think anyone would even be able to tell the difference that we have just created this in like less than 2 min, 3 min. Whereas if he started to trace it out completely, it will take a lot of time. And you can maybe add Bevel modifier. You can see we went smooth it out even more. Or maybe stuff like subdivision modifier. And you can see it does quite a good job of like smoothening it out and making it look a little bit more data. The reason is if enables statistics from here, you will notice that the vertices count has gone up by a lot. Because dislike adding Veblen subdivision or the skin modifier is like really a polygon heavy. So that's why I think I'm just going to skip on this part. I mean, I've shown you how would I have created this. I'm not really going to add this thing in our table. Another way would be to just remove the skin modifier. And you have created this. You can press F3, search for a command and search for Convert to mesh. So to convert to go, so convert this to a goal. And after you've converted, you will see the properties over here have changed. You can make it more like round if we increase the depth now, you will see that this is like more rounded and cylindrical in shape, whereas the one with the skin modifier would be good. If you want to add it this way. Definitely, you can do that. But I think the skin modifier when looks better, so you can undo this. And again, this is now a mesh skin modifier. Makes sure to just press Tab, Escape, select everything the interests controlling. Use the scale. And yeah, this looks fine. I think if you vote, you can definitely add this duplicated over and over again all around the table. Or you can just use the array modifier and the mirror modifier that we have learned. Quickly, speed up the process and duplicate it all around the table. But as I said, I will be distributing this and I will not be articulating with this. Pretty much our table is done and we have finished modeling it so it's saved. And yeah, in the next video, we will be creating the chair. So thank you guys for watching. I'll see you in the next one. 6. Creating the Chair: Hello and welcome guys. So in this lecture, we'll be modeling our next drop that would be a chair. So as you can see, we have one over here and one over here, so we can place them around our scene. We will be creating that now I will just disabled the writing table. And also I will select this reference image, press M, and move into a new collection of reference images that we can put all the images over here. Alright, so let's just disable this now. And yet there's one for the front view. And again, there is this reference image that we will be using. It has moved the front view and a side view. Now shifting and let's add it in Blender. I will also enable swing cost keys. It's pretty shifty. Go over to image the fence. And in the folder, just select this file. Here. Alright, I will minimize pure ref for now. Let's see. We obviously have the front view like this. So what we can do is we can duplicate this offense image. So press Shift plus D to duplicate it y and place it over here like this. Then press R, then z, rotated by 90 degrees. Then plus g than x, and move it over here so that we also have the front view and the side view at the same time. So we can press one for the front view and then three for the side view. It's a pretty simple. One thing that I will do is I will flip this side reference image so that the chair is facing the other side. Press S to scale it, then press Y to lock on the y-axis and then type in minus one. We can flip the image like this. And now the chair is facing this way. Alright, so the way this would work is after you have placed both the reference images in this font. Let's say we start by creating this very simple leg over here. So we just need to add a cylinder shifting. Let's add a cylinder scale this down. Enable X-ray. Let's place it over here. Scale this down, press S and scale it up on the z axis. Now to make sure we are in line with the side reference image suppress three. I can see it is not in play, so just press G then vi and place it over here. And now as you can see, it is a little bit slanted, which we couldn't see from the front view. So now we just press tab, select all the top vertices, and then the z, then y, and move it a little bit like this. So yeah, this way we can work both in the front view and side view at the same time so that our model comes out to be perfect. And let's see, we obviously won't create the right side because we can use the mirror modifier for that. So let's see next what we can do is press three. And let's create this leg over here, this one. So again, I will add a cylinder. Scale this down and just try to line it up with the reference image. So press Tab now, select all the vertices, placed them like this. And now just press E to scale it down a little bit because it is a little bit thinner towards the top. To create this slanted like shape, just press R to rotate it. This way you can rotate it. Now press one again for the front view, and let's press G and X and move it over here like this. So this is the one. As you can see, this way, we can work more precisely and create a better looking model with the front and the side reference image. Make sure to select them both. Right-click, Shade Smooth, and enable orders food for both of them. Alright, so now we need to use the mirror modifier, but we do not really have anything in the center. What I will do is I will first create this tender object over here so that I can use that as the middle object. And then I will duplicate these pieces along that object. So let's create this thing in the center. First plus three for the side view and let see this kind of shape. I think it is pretty easy to create. We just need to press Shift a to add a plane rotated by 90 degrees. Enable X-ray staff. Let's see, place it over here. Select the top vertices, bring them down. And now just press E to extrude it. Now first one for the front view, and then press S, then x scaling down on the front view also. Let's move it a little bit upwards. Alright, so to make sure that the origin of this plane is in the correct position, and that means exactly I hit Center. There is a nice little command. We can go over to object, select the object first, then go into Object menu. And you can see the second region. So we have multiple options. We can set the origin to the 3D cursor. You will see the 3D cursor is placed over here. So if I select this option, you'll see now the origin is moved to this location. And you might think, what is exactly the need for the origin? The origin is like all the transforms will take place from the origin. So let's say if I try to rotate this, you can see the object is rotating from the origin. This week. Scaling or even movement, everything takes place from the origin. Also the mirror modifier also works through the origin point only. So it is necessary that we have it in the correct place. Alright, so right now, I don't really want to have it on the Gaza point, but rather in the original position of this model. So go over to Object set origin and just select origin to geometry. So this will place the origin at its correct location, that is at the center of the geometric. And now what we can do is let's press one. And as you can see, it is almost exactly at the center of the chair. So I will add mirror modifiers to both of them. The legs that we created, and select the middle object as this. Now as you can see, everything is pretty much in line with the reference image, and it works perfectly. This way. We can make use of this command over here to set the origin. So make sure the origin is at the correct place of your model whenever you are trying to use something like omitted modifier because if it is at the wrong position, so let's say I just change the location of this origin. So to change it, I can just maybe use many commands. There are different ways to change the origin. I can just press Shift plus right-click to move the 3D cursor. Let's say I place it over here. And then I select this object and set origin to 3D cursor. You can see the mirror modifier Instantly change according to the origin point and not really the object. Let's just undo this. Also. You can change the origin according. Also you can change the origin to any way you want. Let's say you want do the origin right? Exactly at the center of this face. So what you can do is select this face, press Shift plus S, then closer to select it, bring the cursor over here. And now you can again simply do set origin, origin to 3D cursor. This will place the origin right at the center of this particular face. So you can customize the location of the origin using these commands. You will notice that the mirror modifier didn't really change because although the position of the origin is changed, it is still exactly at the center of the model. So that's why the middle modified into genes. So let's just undo this. And yet now the origin is right back its location. Alright, so let's move further and created the chair. Three for the right side. Let's see you next week can maybe create this simple stance. So just add a cube. Scale it down. Scale on the y-axis like this. Press one for the front view. Enable X-ray, something like this. Let's scale it down even more. Select this item middle modifier, and select the middle object as this. Let's save this one, and let's create this thing now. Add a cube again. We cannot really see this thing over here, but let's just bring it over here in the front. And the user to size like this. And yeah, that's pretty much fine. Let's see. Next we can use this shape over here. So again, I will just basically add a cylinder. I think it is pretty easy to create. You can do that on your own also, we just need to scale it accordingly. This DAB plus one for vertices selected. Now just keep on pressing extrude and align it with the shape and the difference image like this. You can maybe scale it down, rotate it a little bit, and just move it around to fit it perfectly. Alright, Next, let's just hit Shade smooth and also enable auto smooth. From here, we can maybe select this top loop, suppress 248, Select All to select the complete loop. Then press Control V, and make sure to apply the scale first. Now bevel it. We can do the same at the bottom also. You can also use Beverly to maybe make some of the edges a little bit. 7. Fixing the Chair: Hello and welcome guys. So this is just a quick little video to fix a couple of things with a chair. So one thing that I want to do is I want to select this thing over here so that our mean seat. And I want to just reduce the size of it a little bit. So just press S to scale it on the z axis. Makes sure to press Z twice so that it scales exactly according to the rotation. Also. Scale it down like this. Here maybe, and just put G Z, again Z and move it up. Next, I will select this piece and I also want to move it at the front. So just press Shift plus dy. And why? Just place it over here? Scale it up. And yeah, that makes a chair look a lot better. Next, if you press seven for the top view, we can see this curve over here. So I want to improve it a little bit. Just wanting to do that, just press Tab to go into the Edit mode. And from overhead, as you can see, the curve is like not really looking that great to me. I will just select this vertices from over here, and maybe this one from over here, then plus g, then vi, and move it upwards like this. And you can see that alone has fixed.gov a lot. Yeah. No, I think it looks pretty nice and uniform. Next I will select the seat, Mainly. Press Delete, select this thing again. And now I will show you another use for the 3D because whenever you add a new object, so press Shift and add a cube, you will see that it is created at the location of your causal. So if you want to add an object at a specific location, you can just maybe select this thing over here. Press Shift plus S than closer to select it to bring the cursor over here. Now I want to add a cube over here. So Shift plus a or the cubes. And now as you can see, this cube is added exactly over here at the center. And I will just scale it down. Scale it up like this vial. So let's select them both press Slash to go into the isolation mode. Select this press three for right view. And just rotate it and make sure that it is perfectly like in the rotation of the seat over here. Yeah. That looks fine to me. There's a slash to come out of it. I would just rotate a little bit more. And yet now press S and Z and make sure to present twice. Scale it up a little bit. And again, I will just add the subdivision modifier only. Cheats moon this enable auto smooth. Left side, two levels. Now just the edge loops correctly. I think something like this looks much, much better than the last one. When I drove. I will just start like this. Alright, so yeah, I think this looks much better to me. It's Shade Smooth once. And yeah. And I think now our chair looks much, much better than the last version. I'll just quickly make these changes. And yeah, that was pretty much the point of this video. We are done with this tag us watching. I'll see you next time. 8. Creating the Windows: Hello and welcome everyone. So now that we are done with a chair model, we can just disable the cheer collection and also select both of the reference images and press N and add them to the reference images collection. Alright, so in this lecture we will be creating some windows for RC. If you double-click on the main reference, you will see that there are a couple of doors, windows over here. Here we will create something like that. But first we will create a different kind of window, as you can see over here in this scene. We have this crescent-shaped window. So we'll create that now. As you can see, it is present in multiple different reference images. So yeah, it is kind of a traditional window there. So yeah, we will be creating that in this lecture. And if you look through the reference images, we have this image over here. We will be following this one. You will find many types of different designs and variants of this type of window online. So definitely if you want to try modeling something else, you can definitely try that. Yeah, we will be creating something like this. So first press one for the front view. Let's press Shift plus S and make sure because there is our boiled origin, because origin redshift, pay, Add Image, select the reference. I will select this reference image. Now let's start by adding a plate. So press Shift plus a plane. Press R then x rotated by 90 degrees. Alright, so now press one for the front view and basically just scale the plaintiff to match the reference image. Something like this. Maybe. First let's just press Tab, press Control R to add an edge loop. Make sure to add it right in the center so it right-click, select the side vertices, press X, and delete them. Now let's add a mirror modifier, because obviously this object is pretty complex, so we only creating the left side only and the right side would be done by the mirror modifier. Alright, so press Tab again, select these vertices and let's place them over here. I will just select these vertices and place them in the center of these lines like this. Because later on we will be using like the skin modifier to give this thickness. So that's why I'm placing it in the center. Alright, I will just press three for Face, Select, select the face x and just delete the phases. So make sure to select only faces so that we only have these edges like this. Select the reference image. Let's move it backwards. And yeah, you can see we only have these edges. Press tab. Let's select this middle edge and press X and delete this. Now we have something like this. Let's see. Next what we can do is we can just select this word is you also press X and delete this. Now select these vertices E plus x and extrude this still here. Press E and Z extruded till here at the top. And you might notice that it is not really fitting perfectly with the reference image, but that does not matter at all. Because if you'll notice correctly, the reference image is, I think, not really symmetrical on both sides because if you notice over here in the corners, that designs are completely different on the left side and the right side. That's why I think it is not really fitting properly. But that does not matter to us because we will be creating only the left side and we can just duplicate the right side. We don't have to like copy it exactly as it is in the reference image. Because I think that would take a lot of time. So you have basically my point is that it does not matter if your middle modified does not match on the reference image. Okay, so I will just minimize pure ref for now. So now we will create these semi-circles or circles. So to do that firstly, start to come out of the edit mode and simply press Shift a go to Mesh and add a circle. And you will see that this circle is added first, let's rotate this by 90 degrees. So plus r then x type in 91 for the front view. And now just scale it to fit the size. Like this. Now press tab, make sure to just delete the right side so that only half of the circle is present. Press X and delete the vertices. And let's add the mirror modifier. Now. You can see it is working perfectly. Now select these vertices, press X and delete them to have something like this. Next, what I will do is I will basically join these two objects so that we can edit them properly. So select them both Risk Control J to join them like this. Now they're basically a single object press tab. And if you zoom in over here, press control are about to see will be added. Jeden Z, move it down over here. Now basically just select them both and press F to connect them like this. Now we have connected our circle with a main mesh over here like this. If you want to just see how the skin modifier will look, you can go ahead and add a skin modifier right now only. Just disabled X-ray. You can see something like this. Rheostat press a to select everything, press Control a, and you can just scale it down. So this way you can see we can easily create the window. Enables smooth shading and also auto smooth. But right now, we don't really want to see the skin modifier. So let's just disable this. And yet now let's continue working. Again. I will add another circle lungs. So press Shift D, add a circle, rotate this by 90 degrees. There's force press Tab and delete all the right side vertices. Add a mirror modifier and scale it up. Make sure it fits properly. This one is fine, I think. Reestablishing. And let's delete the bottom vertices. And now again, select this first and now select the main Mesh Control J to join them together. Stab again, select this vertices and phosphorus control arm. And let's add one over here. Select them both, press F to join. We also have to do this overhead at the top. So again, press Control R and C would be added. Select them both and just press F. Instead of pressing F, What I will do is I will just select this, then select this. You can press M to merge the vertices so you can do different things like at center. But if you added center, you can see the circle would be derby little bit. So press M and instead of center select at last. So what Atlas will do is it will adjoin out the vertices that was selected at last. So I will select this word C first, then this one. So press M. And now you select at last, you will see it is joined over here. If you select like this one first and then this one, then press M and then select at last. You can see it was joined on the second word to z. That was the last one. I hope this is clear. This and this plus m at last. And yet one again, Let's start creating these things over here. This might take a little while, but I don't think it is difficult to do. So press Tab to go into the Edit mode. Let's start from over here, press Control R. And let's add three edge loops. And I mean three vertices. You can adjust it by using the scroll wheel. So let's place it over here. Recipe then z and x. And now just select these vertices. Make sure to select vertex snapping, press G, then x, and then hold Control and hover over here so that they are perfectly in line. Now press F. Yeah, something like this. Let's select this word. See place it over here. Press E and Z. Control R, add vertices over here, rigid and Zach to move it. Then hold Control to snap them like this and select them both and press F. Alright, now I think I will be just using the commands I've taught earlier. So I will basically just complete this whole thing and not really talk that much or common date over my actions because I think these steps are pretty self-explanatory now as we have done them a lot of times, you can just, I think maybe fast-forward through this or just skip this part completely and try to complete this thing on your own first. Alright, so now I will just start completing this. Also one thing that I would do want to mention is a mixture to enable flipping so that you can just join these vertices together at the center. And there is no such issue. Alright guys, so now I think I'm done with the creating of the design of this window. Some of the edges I might have left here and there, but I don't think it matters that much. The design looks pretty good to me. I think I will just enable the skin modifier now. And yet, as you can see, we have a little bit of problem over here. So let's see how we can fix that. Select this press Control. Let's apply the scale. And it does not really fix a problem. Let's see. We can remove the skin modify and let's try adding it again. And yeah, that fixes that. Press Tab again and press a to select everything. And now press Control a to adjust the thickness of the skin modifier. Alright, so now I wouldn't do it looks pretty good in my opinion. Let's press Control S to save this. And you can adjust the thickness of the window, if you remember correctly. We establish a to select everything. Then you can press Control plus a, and then you can adjust the amount of the skin modifier. So let's see, press one for the front view and let's try matching it with the I think this is too much this much pretty good, in my opinion. That is pretty much personal preference, but I think this looks pretty good. It's smooth shading. And also auto smooth. Alright, so let's hit Save, select this and press M. Moving to a new collection. Let's rename it to Windows. Alright, so I think this is it for this video. In the next one, we will create a couple more windows, and I think we will try to detail this a little bit more. Tenuous watching Hit Save, and I will see you in the next one. 9. Adding more Window Panels: Hello and welcome guys. So in the last lecture we created this window frame. So in this video we will be creating a couple of more windows. So I have opened a pure ref over here. And if you look through some of the reference images, you will find these types of windows or like door frames are used a lot like something like this over here. You will notice, like, as you can see, in many reference images, we have a similar path, no door frame or the windows. So it can be like the used a lot of times. As you can see over here also. These things we will be creating, basically this in this video. As you can see, I've added a couple of different reference images so that you can choose from different windows styles. So I will be going for something basic and simple like something like this. We will create these and these can be used throughout the entire scene, is pretty useful to create them. Alright, let's start. If you go over in the reference images folder, you will find there are a couple of different images for these type of windows or dough friends. So one of them is this. We also have this and this one. So I will be choosing this one. First, select this image, press M, and move this to the reference images collection. Now let's press one for the front view. I, we minimize pure ref for now. And let's press Shift plus a over two image at the reference image and select this one. Basically, I want to create the size pretty much same. Religious create first and we can adjust the size later on. I will select the window collection and just disabled it for now. And yeah, basically focused on this thing only. So this shape is, I think pretty easy to create. Let's move it backwards. Also. I will move it to the center or the origin. So press Shift plus S and select, selection to cause up. Alright, now it is exactly at the center press Shift plus a. Let's add a cube In this down. Now basically match the scale. Let's quickly enable our window. Let's see, I basically want to give them the same thickness. I will select this and let's increase the thickness a little bit. So press a to select everything. Then press Control a. Yeah, I think it's just fine. Now select this piece plus seven. And let's just scale it down to press S. And why. So you have basically something like this because it will be going this week. On the side of the windows. I think this much thickness is enough for both of them and let's just disable that Windows. One again, enable X-ray. Now what we want to do is first we need to apply the scale tool, select it, press Control a, apply the scale. Now for staff. Now let's add a bunch of edge loops. So first, let's add one over here, one over here, and another one over here. We can basically select this and select all these faces. And let's try inserting them together. If you will try to insert them together, you will see it will insert this way, but we want to insert them individually. So press I once again. Now you will see the faces in individually. So again, go back to the reference image, enable X-ray. I once again. And yeah, I think instead of this much is enough. Let's press U to extrude it backwards like this. Alright, so what I want to do now is I also want the thing I did over here to appear at the back also. So let's see how we can do that. Press Tab to go Eight more. Add an edge loop over here in the center, so it Right-click like this. Now press seven for top view enable X-ray. And just select all the vertices on this side, like this. Now press X basically and delete the vertices. And we can add a mirror modifier. Now, on the y-axis, we have it on both sides. Now. Also, another thing that I will do is I will select this big face, this one, and press X and delete the face so that it is hollow, something like this. And now press Tab, press one, and now select this edge loop over here. So hold Alt, select it enabled clipping and just move it in like this so that there is no visible spaces. And yeah, that looks pretty nice. Let's add a bevel modifier. Apply the scale, enable harder normals and auto Smoot. Next I will establish games. Just select these three phases, so fourths plus three, and then select these three phases while holding Shift. Let's press I once again, extruded outwards. Again, I will insert this, extrude it outwards and scale it down. And now you will notice that when I tried to scale all these phases, this scale like this way, like they are skating like a single entity only. But I want to scale them individually. So to change this, you need to click on this icon over here. So right now as you can see, it is set to medium point. It will take the median point of all the selection and then it will do all the scale rotation and things like that. But you can also change this to individual origins. So now if you scale, you will see the faces are scaling individually. If you rotate them, they are rotating individually. This is like a really helpful command. You can see the difference clearly. So select individual origin over here, and now scale it down like this. I don t think it looks good. I will undo it. Here. I want to just insert this once again, but not give too much insect. This much is fine, then extruded outwards. Let's scale it down a little bit. Insect. Just a little bit extrude. Yeah, I think this looks better to me. I will press a to select everything and then just move it a little bit on the y-axis to make it a little bit thicker. Because I think it is right now to ten. We will adjust the window also later on. But yeah. Alright, now plus one again for front view and we just need to basically create this design over here. Let's see how we can do that. Obviously, we will use the mirror modifier to either work. So let's see, I have hidden the window for now. So you can just select this and press H to hide it. And now let's add a plane first. Rotate this by 90 degrees. And make sure to like be, place it correctly. Over here. Just select everything fits perfectly. It does not have to be like 100% accurate, but yeah, just roughly place it over here like this. And now first apply the scale. So press control a, apply the scale. One for front view press Tab. Add edge loops like this in the center. So it Right-click. And this time I want to divide it into four equal parts because as you can see, we can only work on quarter of this and rest would be done by the middle modified. So we basically have to divide it in four parts. So press Control R again like this and add edge loops in the center. From here also. Now press one and basically select all these vertices, press X and delete them. Now add a mirror modifier. On the y-axis also basically set this vertices, the center one. So let's start now press Control R. I'd see over here. Extrude this downwards. Again. We basically have to do the same thing again. Press Control R and add a vertex u over here. Now just because Jeevan zed and snap it together, select them both with F. Press Control R again. Press E and Z. Make sure to enable flipping so that these joint in the center like this. Select these two and press F. Again, press control our residents and hold Control. Them together. Selected, press F, select this word is c plus e, and just join it like this. Make sure to press X so that is loved on the x-axis. Add one vertices like this. Extruded of words. Basically these are the same thing that we did earlier. So I will just finish it up quickly. And yeah, I think our design is done not so it was pretty simple as compared to the last one. So now press alt plus H to bring it back. And let's see. I will just show you another way to give this thickness. Instead of using the skin modifier. Let's disable Extreme Risk tab press a to select everything and press Control J. We can obviously, definitely use the skin modifier also. We have something like this. It works pretty good, but let me just show you another way, which I think is a little bit better in terms of adding thickness, as you can see around the corners, skin modifier does not do that good of a job. So let's see how we can achieve that. So select this press Tab to select everything. Now press E to extrude it like this. Then press Y locked on the y-axis and let's extruded this much. Now you will notice that we have given it a thickness in the y-axis, but it is still 2D only. It does not have any thickness in three-dimensions. So to do that, basically select it and this time we will add a solid if I modifier. Now you will see we can add thickness in three-dimensions like this. But you will notice it is still pretty weird. Firstly, select this and press Slash to go into the isolation mode so we can view it properly. And to basically fix this issue, just select it, go over to mode and change the mode from simple to complex. And as soon as you do that, you will notice that most of the issues are fixed. But over here, you can see it still looks kind of weird. And now it might be possible that you absolutely do not face this issue because this is like a weird kind of issue which depends on how you model it. And it can appear in like a completely different location to mind. Maybe it will appear over here or here. To fix this. Again, it is very simple press tab and we can easily see that the issue is this face. So first press three for Face Select. And we can easily see the issue is this face. So just select this face, redshift plus n. And as soon as you do that, you will notice that the issue is completely fixed. So actually the problem was that the normals were flipped. This phase, as you can see, it appears on this side now, but if I press Shift plus n and nothing really happens. But if I enable inside over here, now the face is flipped. So basically that was the issue. The face or the normals for flipped. So to recalculate normals, we have a handy little shortcut that is Shift plus n. And you can see it will recalculate terminals and normally it's fixed. Now, as I said earlier, it might be possible that your issue is over this face. Let's see your faces appearing like this. You can see this does not like really cause any problem, but you can see how it works like flipping the normals. Let's see if this thing is affected. If I press Shift plus n and you can see it kind of makes the face many viewed or the thickness weird. It is not equal on both the sides. It can appear on any of the faces of yours. Say I just figured out which face is causing the issue. Select it and press Shift plus n and enable inside now. And yeah, basically that will flip it. So you might have to do a little bit of work over here, but yeah, this works a lot better as compared to the skin modifier. If I just select it, press Shift plus D to duplicate and press X, place it over here. Let's remove the solidify modifier, press Stat, and also remove this the thing we just extrude it. So yeah, we have basically this thing that we created a little bit earlier. And now we add the skin modifier to this press Tab, press a, press Control a. And as you can see, it will give us this result. Which to be honest, if you look at it from a distance, does not really matter that much. But if you look at closely, you can see around the edges and corners, it kind of looks pretty weird. And over here, the corners are pretty perfect in 90 degree angles. So if you feel like adding the skin modifier is really easy and you don't want to like go through this much of hazards. You can definitely just add a skin modifier and we completely fine with it because from a distance it does not even matter that much. They both look exactly the same. But now you basically know how we can give thickness to a bunch of vertices two different ways. So that will help a lot. I will now delete this slash to come out of the edit mode, or sorry. Isolation mode. Let's select this and give it a little bit more thickness. Make sure to apply this key. Yeah, so the scale is applied. And I think our result is pretty good. Okay, so one more thing that I do want to compare between the solidify modifier and the skin modifier is that skin modified is like really high poly, but the solidify modifier is like pretty low poly and works really good. So yeah, it is better if you use this option. We can also add the bevel modifier to this to make it look even better. As you can see, the bevel will work perfectly on this, making it look even smoother. Make sure to enable hardened normals and auto smooth. You can increase the number of segments if you want to make it even smoother, but that will increase the number of vertices. Let's see, I think this image is pretty good having only one segment. Let's enable that the windows now, the two pieces. Now press G Then x and move it over here at the corner. Let's select our window. If you remember, we like give this thickness in a different way by using solidified. Let's see if we can do the same with this window also. So instead of removing the skin modifier over here, I will just duplicate this, press Y and place it over here. Let's press Slash. And let's try doing that because this objectives like fairly complex. So I am thinking that solid if I modify it, might not work with it. So remove the skin modifier, press Stat, proceed to select everything. Now just extruded outwards like this on the y-axis. Now I will add the solidify modifier. Let's increase the thickness. Make sure to change the mode from simple to complex. And we have a couple of issues here and there, like, unlike these other issues of normal Sunday. So let's select this and try fixing them. These two faces. And yet that fixed it over here also, right? So basically I'm selecting all the wrong places and then just pressing Shift plus n. I'm basically and yeah, that is, I think pretty much solving a problem. Let's select both of these phases then press Shift ten. Alright. Yeah, I think that basically fixed all our issues and we created a better window version. I think it would be better if we use this one. Because over here we can increase or decrease the thickness even better in my opinion. So let's just say I select this and instead of deleting this, because we might need it later on, Let's just select it, press M, and add it to a new collection. And I will name it as extra. Hit. Okay. And disabled this extra for now because we might need it later on for seven, for top view. And let's place this one. I think this is now our original window. In my opinion, I think it looks better. Shade smooth this and also enable auto smooth. It looks better to the skin modifier one because they are not like any annoying edges and corners, as you can see in the extra one. These edges. And also, if you'll notice the word sees, the skin modifier has significantly more vertices than the solid if I want. Let's just disable this. And now we have this 71 for the front view. And let's just place them correctly. Select these two and let's just increase the scale of them. The size of our main window. And yeah, that looks perfect. We can also add the bevel modifier to this if you want to. If you add a bevel modifier and it does not really show up, what you can do is go over to geometric and disabled clamp overlap. Now we will have this kind of like completely weird thing. So just keep on decreasing the amount. You have something acceptable. So let's just set them to 0.00 10.005 I think is pretty good. And yeah, you can see now we can add they will manually enabled harder normals. Alright, let's move further. I will select this window, these two redshift plus d and press X and duplicate them over here. Just to see how it looks. Select these two again, press Shift plus D and also move them to the right side. They've also use the mirror modifier, but let's just list them like this. And yeah, I think I want to have something like this. Alright guys, so let's just say 10 files. And I think for this video, this image is pretty good. It alt plus H to bring back this reference image selected press M, and move it to the reference images collection. Select all of this. Press M and move this to the windows. So these are basically a Windows. We have completed a couple of models now, let's keep on moving further in the next video. Thanks for watching. I'll see you in the next one. 10. Creating the Small Shelf: Hello, Welcome guys. So in the last lecture we finished modeling or Windows. So let's just turn this collection of right now. And in this video, we will be modeling a shelf. If you open up the reference images folder and go through them, you will find that there are some types of shelf in many of the reference images like this over here you can see we will be creating this one also. But for now I think first I will create this one. The circular type cells. They are present in a lot of reference images, so we will be creating them. And we have this reference image over here. Not really perfect, but we can definitely use it to create the shelf. Alright, so let's start. First. We need to bring the reference image into Blender, suppress one for the front view. And now press Shift plus a image and reference image. This one. Alright, so to start off, let's just add a circle shifting mesh and add a circuit. We need to rotate this surface Arvin x rotated by 90 degrees. You can type 90 or the number, but I will select this image and just move it backwards on the y axis like this. Okay, So there is one thing that I want to edit before I start editing our circuit, I want to increase the number of words c. So I will just delete this circuit, press Shift a, and add another one so that we can edit the vertices over here. As you can see, let's just increase the vertices 32-64 so that it is a little bit smoother. And yeah, I think that's better. Now rotate it on the x-axis by 90 degrees. One for the front view. And let's scale it up. I want to roughly match this outline over here. So let's just scale it up, move it here and there a little bit and try to fit on the reference image like this. Yeah, as you can see, this is pretty good in my opinion. Now I will just press Tab and just delete the right side would see so that we can use the mirror modifier. Makes sure to enable clipping also. Now DVDs bottom vertices X, delete them. Basically something like that. And let's see next what we can do is press Tab, press a to select everything, and then press E, wine and extrude it like this. Right-click, Shade Smooth, enable auto smooth. And now just press Tab again. Enable X-ray now to select both the vertices because we have edge over here. Both of them now press E and then z and extrude them downwards like this. We have, we want something like this. And now we can easily give this thickness by adding a solid. If I modify slider scale, Let's give it a thickness of 0.05 Navy. Yeah, we can always adjust it later on. That's pretty good I think. Alright, for seven, for the top view. And Lexi press Shift a and add a queue. And basically this will be our bottom part. So I'm not really trying to fit it exactly with the reference image and the rest roughly modelling it. Something like this. So now let's just scale it up on the y-axis. So press S Then, why? I think this much is pretty good. Now we can select this, add another mirror modifier. This mirror modifier is on the object, but we will add another mirror modifier and this time use the middle object as this cube. And now select the y-axis so that we have something like this. So just the placement a little bit. And yeah, basically we have a rough design of the shelf. Now we can start creating these inside compartments, which is I think fairly easy to do. Alright, so let's start press one and press Shift plus a and add a plane less than x. Rotate this by 90 degrees. Enable X-ray. Scan this down. And now basically what I want to do is I want to make sure that all the edges that we create, all these ones are equal in size because in the reference image they don't really look equal. As you can see clearly, this one is wider and this one is like a lot thinner. And I want to make sure that Size is uniform across all these lines. So to do that, but I will basically do is I will go over here, first press tab. And you can come up over here and enable excellent. As soon as you do that, whenever you select the edge, you can see the length is written over here. Right now, if you scale this down or scale it up, you will see the length stays at two meter only. The reason for that is we first need to apply the scale for this to work properly. So fly the scale. And now if you press tab, you will see that the length of the edge is written over here. And now you can press a violin the edit mode only if you decrease the size, you will see that the Agilent is decreasing. So let's just place it like this. And you can see the edge length is somewhere around 0.07 right now, if you can see it over here, I will increase the scale and keep the size exactly at 0.08 m or roughly at 0.08 m. And then what I will do is I will try to make each h of 0.08 m only. Now press one for vertices, select these two, press G and Z, move them down over here. And now basically we have to do the same thing that we have done. So long. Press Control R, add one edge loop like this. Now, when you have added another edge loop and now you press G and Z, you will see this edge. Agilent of this H will show up whenever you try to move this edge over here. So you can easily place it exactly at 0.08 m, so rigid and Z, and you will see it is decreasing. And as soon as it's 0.08, you can just stop somewhere around here. Similarly, do it for hair also. As I said, they do not really look equal in the reference image because the reference image is not. But we can make them equal ourselves. So now select this edge, press E, the next, extrude it till here. Select this edge, press either an ex, extraordinary till here. Now similarly, keep on adding edge loops like this. Press Control R add one over here. Let's control I add one over here. And now when you press G and X to move it around, you will see that this edge over here, the edge length of this edge will show up whenever you try to move this. So just place it at 0.08 m. Select this, press E and Z. Here. I think it's Control R again. Again, the 0.08 m. And yeah, basically we have to do this again and again, so I will just quickly finish it up. You can try doing it on your own or you can just follow me. As to press E then extrude downwards still here. Again, add an edge loop and extrude it is 0.08 m. Alright, so this part right over here. Now we have to first press E, then X and extrude it till here. And we basically need to connect these two edges. So it can be a little bit tricky, but it is really simple. Make sure to enable vertex snapping. Add an edge loop over here at the top press Control lot. While moving in, just hold Control and snap it to this word, see that they are perfectly in line. And now the inverse control, our first, make sure that this edge over here is 0.08 m, like this. And yet, as soon as it is 0.08 m, you can add another edge loop. Just hold Control and snap them together. Select these two edges. Now press F. And yeah, basically that was it. Select this one now press E and Z extruded downwards. And yeah, I think we are pretty much done. Disable X-ray. Let's bring it out over here. Press tab, select this edge over here, plus g, then zeta, and move it up over here. Let's see what we can do next. First, I want to add a mirror modifier. Select the middle object as this, and select the y-axis. Disabled x-axis. Stab a to select everything. And if you want, you can now disabled Agilent so that it is not really visible because it can get a bit annoying because you can see all of these numbers. So you can just disable it if you want to know, risky to extrude it backwards still here I think. First what I will do is I will add Bevel, press Control a and apply the scale. If your bevel is kind of messed up, you can press Tab, press a to select everything. Then press Shift plus n to recalculate the normals that can fix your issues if there are any. Enable hardened normals and also enable auto smooth. I don't think I will increase the segments. I will keep it at one only. Now decrease the amount. I think this one is pretty good. Next, what I will do is select this press Tab, press control loop like this. Select this face, press E, then extrude them to join them together. But first make sure to enable clipping in the mirror modifier. And also what I will do is again enable excellent. Just make sure like the edge loop that I add 0.8 m, 0.08 m. I mean, something like this for S3, select this face plus e. Now joining them together. Similarly, I would just do it in a couple of more intersections, like over here you can do it. Select this face, prestige to join them together. This one and this one. Apu here, over here. I don't think I want to add two of these, so let's just add one. So I will remove this, select this and this y holding Shift and press Delete to join them together. And lastly, I will just select this one, press E and join it. Yeah, I think that looks pretty good in my opinion. Next I will select this piece and let's increase the solid. If I thickness a little bit more to 0.08, maybe. Yeah, That's pretty good. All right. So yeah. This is pretty much done. Now what we want to do is we want to like create some kind of stand over here where we can keep the objects. So let's create that press one for front view press Shift plus a add a cube. And let's place the tube over here like this. Scale it down and scale it up on the x. Just that much so that it fits over here perfectly. Now press S and Y, scale up on the y-axis. Selected press S then said, let's give it a little bit more thickness. Yeah, that's pretty good. If you want. We can just keep it this way and duplicate it on all the sides. Or we can add a bit more detail. So first let's press Control J. Apply the scheme slash to go into the isolation mode, press Tab, press Control R, and add edge loop like this. It right-click to add it in the center. Disabled, excellent. For top view enable X-ray and just delete all these vertices. And now add a mirror modifier. Press Control R, and add edge loops over here like this. And the corner slash again to come out. Face Select, select this face plus e. Extruded outwards like this. Maybe let's give it a little bit more thickness, press Control R and add it in here maybe. Now select this phase plus three and extruded outwards. We also undo the mirror modifier, so add it back again. Establishing risk tool and select this edge and press Control V to bevel it like this. It looks pretty good in my opinion, right-click Shade Smooth. Also enable auto smooth. Let's add a bevel modifier. Let's decrease the thickness a little bit. So select the bottom face these to press S and Z and move them up. Enable harder normals, and also enable auto smooth. And I think now it looks pretty good. Just a little bit of adjustments over here. I will select this corner and this G and X, this movie till here. And yeah, that looks pretty good in my opinion. Now I will just select it, press Shift plus dy. And duplicate it over here. Press Shift plus D, placed one over here. Shift plus d plus z, one over here. And let's see, we can basically adjust the sizes a little bit. Stab list is in the center like this, this tab enable X-ray and just move it like this. Similarly for this one also stab again, enable X-ray and just move it over here. This one also I think I will increase in size. And if you excellent this one, press tab and select this face and push it in a little bit so that they don't really overlap like this. And yet that on SBA thing looks much, much better and cleaner. Let's hide this reference image so press H to hide it that we can look at it even better. Yeah, I think shelf is looking pretty good in my opinion. I will select this press Tab to select everything and press S then Y, scale it down on the y-axis a little bit. Alright, so I think lastly we will just details the bottom piece a little bit more because right now it is basically just a cube. So let's see how we can do that. I don't think I will be creating something like this result plus H to bring this back. Because I think this is too detailed and we don't want to spend too much time on this because it will be in the background somewhere, this prop. So I will select the reference image, press M and move it to the reference images collection. Alright, suppress one for the front view. Let's see what we can do over here. I will select this. Let's scale it down a little bit like this. Select this press Control a, apply the scale and just the naval harder normals and auto smooth. Dab. Press three for Face, Select and select this bottom face. Let's just bevel this. Create something like this. Smooth daughters moved. Yeah, Honestly, even this looks much, much better than the last one. Press tab. Let's select these topics. Select the vertices. Just a second. What we can do here is first, left side of the edge loops. So press Control R, add an edge loop like this. Now select the top loop. So hold Alt and select this and scale it up like this. Need to select the whole loop. It was not really selected. Selected manually by using shift. Now press S and X less than Y. Move it upwards a little bit so that there are no shading issues. Select this middle loop. So hold Alt selected press Control v degrees of segments using a mouse with. Now again select this middle one. Now you can press Alt plus S to scale it down. This way. We have something like this. Let's just reduce the bevel and you should wait. Yeah, I think this looks pretty good in my opinion. Let's press Save, select it and press M to move it to a new collection. And let's rename this collection too small. Because we will be creating another shelf also, a little larger one. Make sure to like just this properly so that it fits correctly. Everything. And there are not any empty spaces through which like the objects are floating. Yeah, I think this looks pretty good. We can hit Save. And we can disable this. Now we can disable this collection. We are done with this. Alright, so I think this is it for this lecture we will continue from here and the next one. Thank you for watching. 11. Creating the Big Shelf: Hello and welcome guys. So in the last lecture, we modeled our small shelf. And as I mentioned earlier, we will be also creating a bigger shelf. So let's do that in this video. If you will again, go through the reference images, you will find this image over here. And we will be following this for our bigger shelf. So you can try creating this on your own because the way we create this is pretty much similar to the last shelf that we created in the earlier video. You can try this on your own, but if not, let's start now. I will bring this reference image into Blender first. So press one for the front view. And let's see, press Shift plus a image, the friends and bring in the reference image. Alright, let's see. We will start by adding a plate. So go over to Mesh, add a plane. Again, rotate this on the x axis by 90 degrees. Let's scale it up. Enable X-ray. And if you remember correctly in the last video when we were modeling this, we tried to keep all the edges similar by measuring the edge length. We enabled the edge length from over here, select the plane, go into edit mode and enable. Excellent. Remember we tried to keep the agency. We can also do that in this one also. But as there are a lot of edges in this, it will be like quite tedious. So what I will be doing is I will basically eyeball the edges and tried to keep them off the same size just by looking at it because we tried to measure each and every edge. It will take a lot of time creating this. I don't really want to get into that right now. If you want to create everything accurately in both early, you can definitely enable Agilent and do that. But yeah, I will just quickly go through creating this and I will show you how we can do that. First, let's press Control R, add edge loops in the center. It right-click and we can delete the vertices. So plus x lead. And let's add a mirror modifier. I will select this edge, press X, and delete the edge. Because we need these vertices only, maybe not even this one. We can select this, these two, this x and they need the vertices. Now we have these two only press E and X extruded like this. I'll press Control R. Add an edge loop over here. This edge risky than x. And make sure to not like join them in the center. I want to keep like a little bit distance. So yeah, just keep a little bit of distance and not joined them in the center. Let's press D than x and move it like this so that this line appears exactly in the center. Yeah, that's pretty good. Press Control R. Add another loop here. Select this edge plus Eden Zed. Select the reference image plus g, then vi, and move it like this. Again, responders tab. Now in basically do the same thing that we did in the earlier shelf. We keep on just adding edge loops and join them to create all these edges that you can see in the reference image. So let's start. Basically pretty much the same thing. So I won't really be coming dating over my actions because I'm pretty sure you guys know exactly how to do this. You can see we need to join this edge over here. So how we can do that is press Control R first, click anywhere, then breastfeed and Zach to move it. Now you can hold Control to snap it over here to this vertex so that they are perfectly in line. Makes sure we have vertex snapping enabled over here and not any other type of snapping. Again, press Control R, add one like this, but gene and z and snap to this one. Now we can select this edge, this edge press F. And yeah, you can join them. Start from over here. Press Tab, press Control R. It's Control R again. I've been like this. Again now we need to join this over here. Press Control R at AU, right around here, then rigid and z. And while holding Control, you can snap it like this. This one plus E extrude it in here. And now we need to join this, uh, you press Control art, add an edge loop rigid and Zach hold Control to snap it. Again, add another one. Gene zed, snap it together and just join these two edges, press F. Alright, so now I will just basically complete creating all these edges. So yeah, you can do the same. We can fast-forward the video and try doing all of this on your own. Or you can just quickly skim through the video and you can go to specific parts if you are facing any kind of issue. But I'm pretty sure you will be able to read this easily now. Alright, so yeah, I will do that now. Basically just adding a bunch of edge loops only and joining them together. Alright guys, so now we're pretty much done with the modelling of all these edges of our shelf. So let's disable the x-ray and see what we can do next. Properly make the building. Let's see, select this press Tab. And now what I basically want to do is I want to bring this forward. As you can see, the origin point is at the center over here. So I will enable the mirror modifier add another axis also so that we can make these 3D. First press Tab to go into the edit mode. Now press a to select everything, then press G, then vi, and move it forwards like this. The reason I did this is because if we move in the edit mode, if you remember correctly, let me just show you if I add a cube. So right now if I move this, you can see the origin point is moving with this. If I scale it or do anything with it. But if I press Tab and now if I press a to select everything in this cube, delta G, the origin point stays over here only and the cube has been moved. So you had this can be used to our benefit as now, if you'd like. Just to say again, yeah, if I use the mirror modifier on the queue, right now, nothing really happens because the origin is at the center and a cube is symmetrical from all sides. But now if I press Tab, press a to select everything, and now I move this in the edit mode. You can see I can edit the mirror modifier now, because now the origin point is not exactly at the center of the cube and it is authentic. So that's why we can see two cubes now. And the mirror modifier is working properly. So that's why what I did. Basically, I selected this thing and I moved it in the edit mode. So that's why the origin point is still over here. And now I can enable it on the z axis, sorry. And this way you can see we have something like this. So let's see how much thickness we want to give this. Go back to item, press Tab, press a to select everything then plus g, y and move it inwards. Let's just keep it at this right now and we can change it later on. So now press Tab again, while everything is selected, press E and extrude dislike this. Next what we can do is we can join some of the edges. As you can see over here, we have like slabs created. So we will not join a couple of edges to give it that shelf like look. So press tab risk-free for Face Select and select all these faces at the top. By holding Shift one-by-one, then risky and join them like this. Make sure to enable flipping. And now do this so that it stops exactly at the center. Let's do the same for a couple of mortgages. So press tab, let's select this one. This E, join it. I have to make sure to like look in the reference image. Let's join these on to next, as you can see over here also this is joining. So press Tab. These two phases plus e. You can see the male modified is handling the right side on its own. See, next we can select these two edges. Obviously you don't have to like go exactly according to the reference image. You can definitely use some edges on your own and make it look a little bit different. That's totally up to you. Let's see. This one also, I think next is this one in the center. Overhead. Also. Make sure to select this face also Na plus E. Yeah, that looks much better. This one over here, plus E. Alright, so yeah, I think this was all of it. Now we can again press tab and select all these pieces at the bottom. Enjoying these to create this kind of float. We can maybe select this face also now press E. All right, This looks pretty good, or shelf is looking very nice in my opinion. One thing that you guys might notice is, let's say we select this and add a bevel modifier to it. I don't think it is that apparent, but if you look closely, you will see some issues over here in the center line. In some of the areas, as you can see, it is not really that visible, but the line where the middle modified joints, you can see there is a little bit of shading issues. And the reason that is being caused this, like if you don't want to fix it, it is totally up to you because it is not even that apparent. We just show you why it is happening. There's just done the mirror modifier for now. And you can see we have these phases or here. So if I enable that the mirror modifier, these phases are like on the inside of our object. So that's why these can cause issues. As you can see there on the inside of the mirror modifier over here. So what we can do is basically press Tab and goodly just select all these pieces that are technically on the inside of the mirror modifier. And you select them, press X and delete. The face is like this, that it appears to be hollow. So when we enabled that the mirror modifier, so now there are no faces inside the object. So now you will not see that line appearing in the center. As you can see over here. I don't know if it is visible in the video, but it might be visible in your own mode. So let me just quickly fix this disabled limited modifier, press stat, and just quickly select all these faces that are on the inside of the object. Like this issue appears sometimes you have to make sure that whenever you are using the mirror modifier, they are not really any faces on the inside like this. And now press X, delete the feces. Now you can just enable that, the mirror modifier. And now you won't see that weird line appearing in the same time, even the slightest. Let's adjust the bevel modifier now. Enabled harder normals and enable auto smooth. All right, so that's looking pretty good. Now. One again for front view, redshift plus a cube. Skin this cube down and we will place this over here in the center to make our drawers. I'm just scaling it. Fit properly. Alright, that looks pretty good. Select this and press Control. Apply the scale first, stab and add edge loop in the sangha. It Right-click. And again, we can delete this and use the mirror modifier. One thing that I'm noticing is the disabled the meter. And we like forgot to extrude this face out. And if you enable the middle, it is looking kind of weird, like empty space in the center. So to fix this, and this would be like a nice learning thing. How can do that? I can press one for the vertex, select hold Alt and select this complete loop x and delete the word sees. Now first before extruding, let's just fill out this face. Select this press F, F, F, F, and fill out like this. So basically what I did is select this edge and keep on pressing F to fill the face. And yet, now press three for Face. Select, select all these faces. Enable the mirror again and just join them like this. That looks much, much better. And if you remember correctly, disabled a minute and just remove this face. Now, this time we are not removing the vertices, but we are removing only the face so that now it appears hollow like this so that we don't have any issues by using a mirror modifier. And now our model is perfect. Let's latch. Alright, let's see next what we can do is first hit, save this one for the front view. And let's create this thing over here in the bottom. And I think that is pretty easy to do. The shifting, add a plane, rotate by 90 degrees. They see it over here like this. Press S, then x, scale it up, enable X-ray staff x and delete all the edges and faces. So this will keep only this and that is what we need. Select this and now this extrude the outlined by pressing E again and again and trace it out. One very basic and very easy. We can also use the mirror modifier for this, but let's just leave finish this up because it is not really that big of a deal. For the last two words is just select them and press F, we join them. Now this a to select everything. Then again press F to fill out this face, Jeevan y, and move it in the front like this. And now select this. Let's add the solidify modifier to give this thickness and also apply the scale. Add a bevel modifier, Moody's, and enable auto smooth. Alright, so pretty good. Now we can add the mirror modifier to duplicate it on the other side. So Miller select the middle object as this. Select the Y axis, the Z axis, I think. Yeah. Now the only thing left is to detail these drawers a little bit. Alright, so what I will do is first I will just, instead of keeping this as a complete single queue bully, I will just delete this cube and add a new one. Press Shift plus a add a cube. This time. Just like place it like this, only on a single rod. That way it makes it a little bit easier to model them. Scale it up. Now the scale on the y axis like this. Now we can easily add a mirror modifier. Select the middle object as this. Yeah, that's perfect. And Rowley, apply the scale. Now let's see. One for the front view. Risk dab, risk control are an add an edge loop over here is three and maybe we can select these faces, press I to insert them. Press I once again to insert them individually. Let's extrude this inwards. Hristov once again, and this time just select this top face, insert it a little bit, suppress. I inserted just a little bit. And now extrude it outwards like this. Let's add a bevel modifier first and enable harder normals and auto smooth. Alright, Next again, press Tab, press Control art and add an edge loop in the center pit right-click to like create these faces, these two. So again, press three for Face Select, and let's just select these two faces. And again, insert them individually. Extrude them outwards. We can insert it once more. And I'm just inserting an extruding to create a little bit more interesting shape. And yeah, that looks pretty good in my opinion. Let's just hit Save. And I think our shelf is looking pretty good now. The only thing left is to create these handles that you can see over these roars. But we will be creating them at a later on point. For now I think this is enough for our shelf. Afterwards we will create two different handles for our drawers. But yeah, right now I think it is enough press a to select everything. Make sure to like de-select this image. So hold Control and deselect this. Press M, and let's create a new collection. Let's name this big shelf. Okay. Disable this. And now let's select the image, press M and move this to the reference images collection. Alright, we're pretty much done with this video. Let's hit Save. And thank us for watching. I'll see you in the next one. 12. Creating the 4-Fold Screen: Hello and welcome guys. So in this lecture, the probe that we will be creating is this one and this reference image, you will see this folding screen that is behind that, the background. We will be creating this in this lecture. I have also added a reference image for this. So this is the one that we will be using. Obviously there are a lot of reference images present online. You can definitely choose any other design if you want to. But yeah, we will be using this one. It is pretty simple. And it basically can be modeled by all the things that we learned in the earlier videos. So I'm pretty sure that you guys can easily do it on your own. So let's press one and start press Shift a and add an image In this end. Alright, so we just need to create only one single door and the rest we can duplicate. So I think I will use this third one as the main reference because as you can see, the first one is a little bit tilted. So I think the third one is the most flat one. So this one we can use easily. So Redshift a, add a cube root over here. With the reference image. It does not have to be perfect. But yeah, just match it roughly. Yeah, something like this. Also, we will be using the mirror modifier. So first let's select the reference image and move it backwards. Let's add the mirror modifier. Now select this base controlling of life scale. There's press Tab, add edge loop like this. And also add one like this. So that we can only model of water of this and we can remove everything except this part over here. Press one for word, select, select all this like this. And you basically only have one-fourth of the cube and now add a mirror modifier. Also enable it on the y-axis. And we have something like this. Alright, let's proceed further. Press Tab enable X-ray. And the first thing that we need to do is let's see if the thickness is fine. I think I will reduce it a little bit. We can obviously adjust this later on. Let's apply the scale. Again, enable X-ray and let's add a couple of edge loops. One over here, like this. One. Now just select this face for Face, Select, select this face, press I. And this time we do not want to insert like this. We do not want to insert individually. When one thing that I want to show you is if you click over this icon over here on the mirror modifier, you will also be able to see the geometry over here. As you can see, if a disabled this, we do not really see the geometry over here. But yeah, we can enable this. And now we are able to see the faces on the mirror modifier also. Now press I to insert the feces. And you will notice that the faces are like in setting individually. We don't really want that. We want them to insert as a single phase only. Do that if you remember, we will press I once again. And nothing really happens because you will notice that here when you are laying in setting, you will see these two options over here. One of them is boundary, that is the shortcut and individual. That is, when we press I once again, you will notice that the individual I is not turned off. So what we basically want is we want both of these options to be off. So now individually is turned off bridge B now, now boundaries also off. Now you will notice that is inserting as a single-phase. Make sure that both of these options are turned off. Alright, so first let's enable X-ray and then see how much we want to insert. I think somewhere around here is pretty good in my opinion. I don't really want to follow the reference image exactly. Yeah, that's pretty good. Now there's just extrude this inwards pretty basic. You will notice that have this kind of face appearing over here. We can just select this face and press X and delete the face. Pretty simple. And now I will select this phase also that we just extrude it, press X and dilute it so that we have something like this. Now, basically this one for vertices select hold Alt, select this complete loop and we basically want to join them together. So make sure to enable clipping is D1. And join them like this. Alright. Let's also add a bevel modifier, apply the scale and use the bevel amount. Enabled hardened normals and also enabled auto smooth. Let's see. Now again, estab again, select this face over here. And again press I to insert this. And maybe let's insert it till here. Year I think is pretty good. Rescue to extrude it backwards like this. And again, this x and denude the faces. One, hold Alt and join these two loops like this. Next we can press Tab again, press Control R, add an edge loop like this. Press Control B to bevel this. You can increase the number of segments. So I will just increase the number of segments by one, like this large select this middle loop. You can now press Alt plus S and you can move the edge up or down like this to create something like this. Let's first go to the bevel modifier and enable auto smooth. Now it looks much better. You can also adjust the levels. I think this is fine. Again, press Tab, press Control R. Let's add another loop. Again, press Control B. And this time select the middle lobe again by holding Alt now plus Alt plus S. And let's move it upwards like this. And yet we can do the same thing over here. Is controlling be yeah, I think that's pretty good in my opinion. Next, what we can do is press one once again, the staff. And we need to create these legs lengthening. Press Control R to add an edge loop. Now you can see the loop is being added in a slanted way. So press E to even it out. And you can press F to like flip between the two edges on the left side and the right side. Right now, if you'd like to even it out right now it is following the left side loop over here that you can see. But if you like risky then press F to flip it. Nowadays following the right side one so we can place it around here, I think. Now just select this face. So for S3, select the face e to extrude it downwards. Let's click here. Next, I will select this and I want to add a plane in the center. If you remember, I mentioned that whenever we add object, it is added to this 3D cursor. So we can press Shift plus S, then select the cursor to select it. This would bring the cursor over here. Now I can press Shift plus a add a plane. You can see now the plane is added in the center, are then x rotated by 90 degrees. Scale it down, scale it up in here. And basically we will use this way to project our texture onto in Substance Painter when we will be texturing this object. So yeah, that's why I added a plate. An expert we can do is press one and we can create these designer things over here to give it a little bit more detail. So let's see how we can do that. Let's just select both of these objects, press H to hide them. Also, I will minimize pure ref, rest one. And let's see, we can start by adding a plane. So Redshift, they add a plane, rotate it by 90 degrees. Scaling down, lift it up over here. Down again. Enable X-ray and just try to place it in the center by hand like this so that we can use the mirror modifier probability, That's why I placed it around like this. Now, over here at a mirror modifier. Or the first we need to delete the right side vertices, select them, press X. Now add a mirror modifier. And what I would do is I will just select all of the vertices, press M and merge them at center. That will basically have a single word. See like this. As you can see, we have a vertice v on both sides. So let's place it somewhere around here. Now this E and start extruding this image. It might not fit the reference image properly over here, but that does not matter to us. Because we only wanted to like create the left side. It does not matter to us that it is not fitting on the reference image of Narcan. Make sure to not overlap these two. We are done, reestablish a to select everything then plus F to fill in the face. Let's disable x plus h, bring back the hidden objects. I will also hide the reference image for now. And you can press one now. You will notice that it is not exactly in the center of our object. So now I will show you a nicely if you drink through which we can copy the location of two different objects. So for that, you first need to enable the add-on. So go over to Edit Preferences and search for Coby attributes menu. So go ahead. It would be, I think disabled by default, so enable it. Now, let's say we have this thing placed over here, somewhere around here. And I want to place this thing over here exactly at the center of this object, this one, so that we can place it over here in the center. So to do that, you select this, then select this. Now press Control C. So the reason I selected this first, then second this one is because I want to bring this object to the location of this. I'll select this first, then select this press control C. Now you will see this whole menu up here, and you can easily select Copy location. As soon as you do that. You will see nowadays these exactly at the center. Basically both of them have the same location. Now we can easily press one for the front view. Now press G and Z. I need is exactly at the center. Now. Just scale it up like this. I will also enable back the reference image. And yeah, what we can do is they sit like this. And then maybe we can just select this tab, enable X-ray and reduce the size of this from over here like this. Yeah, I think that's fine. Now we can select this press Tab. And now this E to extrude it. Shoots move this and add a bevel modifier. We can also add a UV sphere. So press Shift, add a UV Sphere. Scaling down, basically over here is selected and the size of it. Now duplicate it over to the other side. So either meter, select the mirror object as this. And yeah, that's pretty good. I think. Let's do the same thing for the bottom one over here. Let's add another plane brush. If they add a plane rotated on the x axis by 90 degrees, bring it down over here. Enable X-ray. And it is already at the center. I think I will add a mirror modify or add an edge, loop it, right-click and delete the word disease. Now either minute modifier, select all of it, press M and act center. Again, let's quickly start extruding pretty repetitive stuff. And I think we can easily do it now. Okay, I think this one is like a little bit tricky to create because it is like joining over here like this. So let's see what we can do. Let's start from over here and just keep on tracing it. Yeah, something like this. And now when you reach around here, what I basically want to do is like instead of going around this corner, I will just basically joined these two like this. Select them both. F. Okay, it's something like this. I don't really want to join it and go all over here. Now press Tab again, this a plus f. And we have something like this. Now, restart enable X-ray and we need to create these cutouts. That is pretty easy. You can risky and you will have the knife tool. You can just raise this out using the knife tool. Over here, then press Enter. Now you'll see we have this new phase appeared over here for S3. Select this face base x and the new interface. Similarly, there's clear the other side also the Press K again and start tracing it out. You don't really want to join it or here in this edge, let's just join it like this. Press enter three for Face, Select, select this face plus x and delete it. Now we have our shape. Again. Let's scale it up, maybe. Stab a dendrite 3D extruded. Shapes, mood, enable auto smooth and add a bevel modifier. You can see some issues with bevel rest one, and let's see how we can fix them. Br2 for it, select, select this edge here. And you can just adjust it a little bit. And issues will be pretty much fixed. Just because once I move it a little bit, stab again. Yeah, now we're pretty much good to go. It's smooth and enable auto smooth. Let's just join it up over here. Maybe I will increase the size, and this much is fine. Now we can copy these spheres redshift plus D and bring them down over here. One. And place these over here like this. Yeah, that's pretty good. We can select this face and moving a little bit like this. The size of the sphere. Alright, I think we are pretty much good to go. Let's save. Press Tab on this thing. Let's select this face over here. We can be inserted and extrude it out a little bit. Yeah, that looks fine in my opinion. Let's hit Save. And I think we're pretty much done with that holding screen. Now we can just select it for the top view. Let's place it like this, G plus G to move it. And now press R to rotate it a little bit like this. You will notice that they are rotating very weirdly. If you remember we enabling this option from over here that is rotate on like individual origins. So instead of that, select back to bounding box enter. This way when I select them all, they will rotate like a single object. And that is what we want. The seven for w plus r and rotate it this much like this. Now press Shift plus D to duplicate rests are again, rotate it like this. Press Shift plus dy. And again, I'm just giving them random rotations and we basically have a folding screen now it's saved. You can also create six faces. That is also fine. But I think food is pretty good. I will now just select it all. M be the new collection and put it in folding screen. Okay? And yeah, we're basically done with this problem. Also select the reference image, press M and move to the reference images collection. And we're done with this lecture. Thanks for watching. I'll see you in the next one. 13. Setting up the Room: Hello, Welcome guys. So now that we have modeled a couple of different drugs in this video, what we will be doing is we will arrange these props that we have modeled into a basic layout for our scene to get a feel how everything would look, and what else prompts we need to add. Before we do that. First thing that we need to do is to scale the prompts that we modeled according to the human reference that we added. If you remember, we did that for the writing table. So now let's do that for the remaining prompts and then arrange them in a scene. Alright, so enable this human reference model and also enabled this chair collection. And you can clearly see that the chair is pretty large compared to a human model. So what we will do now is select it all and try to scale it down according to the reference. Let's see. Yeah, I think somewhere around here is pretty good. If you want to like a closely matched my scale information, what you can do is when you select all of them, just select, let's say this object so that you can see the scale over here and match it perfectly with me. But I don't think there's any need for that because you can just eyeball it pretty much. And it won't matter that much. So as you can see, it is pretty much the frame of the human model. I've scaled the chair accordingly. There you can also put this game pretty much at that. And yeah, let's just disable this now and move on to the next one. Let's select the windows. The windows one is also pretty easy. What I want is that a human should be able to pass through this. So I think right now it is too large, so I will just select it all and let's scale it down. Yeah, I think somewhere around here is pretty good. So that our model can just pass through this entrance. Like it should not be that small or that big. So I think this is pretty much perfect. Again, if you want to match with the scale, you can just select them all and make sure this is your active selection so that you can see the dimensions over here. And let's disable this, enabled the smallest shelf. Let's select it all. Press one for the front view. Yeah, I think around here it's fine. Just about the size of human Martin. Maybe a little bit smaller than that. Yeah, I think this is pretty good. Again, let's disable this, enable that the big shelf. Select it all. And now scale it down. Yep, I think I will keep it around here. Again to match my dimensions. Select this piece over here, their drawers, and then you can match the dimensions. And last is folding screen. So again, we want the screen to me like a little bit bigger than the human model. Yep, somewhere around here. That is pretty much it for the scaling on. That is all we need to do. And you will notice that the older models have now skin like uniformly. They look pretty relative to each other. And you're now what we can do is we can start arranging them into a scene. Let's see how we can do that first, let's just disable everything. Redshift plus S to bring this cursor in the center of our scene. So select closer to world origin. And let's add a new object for our room. So far the loom, obviously we will add a cube, so press Shift, they add q. Now let's scale it up. I have already decided on the scale for our room. So just put in the x, y, and z values. So for the x put in at 6 m, Y would be somewhere around 10.5 m, and that is 3.5. Next word I will do is press tab. There's three for Face Select, select this phase plus x, and delete this phase. The reason I'm deleting this phases so that it is easier to move in and out of the room object, because if we don't like delete it, it will be like. Very tedious to move in and out and move all the objects into it. So yeah, let's just delete this face. And now let's start by bringing in our table. So that will be the first thing. It is exactly at center pretty much so let's place it like this. Now I will open up beyond death to look at our reference image. And we will place the objects according to the reference image. This one was our main difference image. So double-click on it to zoom it up. And let's see. As you can see that the table is around at the center of our scene in the room. So let's just select the table and move it back over here. And let's press 74 top view enable X-ray. I think somewhere around here is fine. Next we can enable the chair. Again, reset, enable X-ray, select the chair. And you can then hold Control and deselect the room and place a chair like this over here. Three for the right side view and move it down. That's pretty good. One more thing that I kind of forgot to do is to make it easier to select all of these objects. We will add an empty object to control them. Let me show you what I mean by that. Let's just disabled the skew the room for now. I will rename this to two. And just keep it turned off for now. And let's enable the collections one at a time. So select the writing table. Now I will maybe just select this piece press Shift plus S then goes into selected to bring the cursor over here. Now press Shift a, go to Mesh or go over to empty and add a plane axis. So this is basically empty object. And now what I will do is while this is selected, so make sure to select this empty object. Makes sure that this is your active selection. Active selection is basically this yellow colored outline. And when you shift select anything else, you will see now this becomes the active selection and rest of them are orange color, so they are not really active. Make sure that this is your active selection. So to do that, first set of this, then press a to select rest of the things. And now you can see the empty object is the active selection. Hit right-click, and you will see parent and now select object. So basically what has happened is when you select this empty object now and now you press G to move it, you will see along with it, the whole table moves because this is now the parent of all of these objects. So whenever you select it, rotated or scale it, it will happen to all the objects that are under it. So all these that we just selected. So this way it would be very easy to manage all the things that we can easily move them around. So let's do that for each and every drop of ours so that it makes our life a little bit easier. Disabled writing table enable that The Chair. Now I will select this press Shift plus S goes to select it. Again, add an empty object, redshifted, add empty plea and access. You can maybe scale it down earlier if you want. Also, let's select this empty of the table. Now press M and move it to the writing table collection so that it does not interfere with the rest of the things. Yeah. Alright, now select this, press a to select everything so that this stays the active object. Right-click Parent and object. You can see all these dotted lines are showing up. That basically means that all of these objects are connected to this. Now when I move this, all of them move together with it. Yeah, pretty easy. Select the empty now, press M and move it to the chair collection. Disable it enabled the windows. Let's select this press Shift plus S, call them selected. If the MDP an axis. Again, press right-click parent object. Select this and press M. Move this to Windows. And I'll disable right-click object m and move this to small shelf. All right, Now again, we are done. We can enable that the room, lighting table, and a chair. Now you will notice that it is very easy to manage all the objects and move them around. In our scene. We don't have to select them all. Then de-select the room will now increase the speed of our process. Let's move the chair Electric going backwards. Yeah, Next let's enable the folding screen. Only select this empty and now place it somewhere around here. As you can see this overhead at the back and move it back over here. Like this. Now we can start adding the small shelf so enable it selected. I'm just basically filling out the scene. Obviously you don't have to follow me exactly. You can place them wherever you want, however you like. Like it is totally up to you the way you want to manage the scene. We have these windows, so what I will do is select them, press Alt and z, rotate them by 90 degrees. Let's just three for sideview. Place them somewhere around here. As you can see, they are over here on the left side of the table. So I will do the same. Place them over here. What you can do is select the room, estab move it down a little bit. Yeah. Next, select the room press Tab, press Control R, and add edge loop over here to here. Then again, here. Then again like this, right about here. Then you can press three for Face Select, select this face stress x and delete it. And as you can see, we have our new now, maybe not the window, it is basically the door. Let's see. Next we have this big shelf. So maybe we can rotate it by 90 degrees, okay? Whereas art and Zaid plus -90 -90 degrees. Please do over here in the reference image, we can place it on the right side also if you want to write on the left side only, so rotate it by 180 degrees and place it over here like this. Make sure to only select the empty only and not any other object. Alright, so I think seeing is coming along pretty good. As you can see, these prompts are nearly not enough. We need to create some more of them. Like we can next focus on creating these small tables, these stools that have, that have these plants on them. Later on we can focus on smaller brands like the basis, the books scrolls, everything else. But yeah, we need to create more browse to make our scene look more like populate it. And yeah, as I said earlier, are setting up this layout of the scene are will help us figure out what would we want to create. What we can do is we can select this chair, maybe. Let's quickly disable everything. Only select the chair. And there is a little shortcut. You can select this empty redshift plus g. And then this menu will appear and you can select the children, and it will automatically select all the children of that selected object. Make sure to also select this empty again. And now press Shift plus g to duplicate the chair plus y plus z the next and move it over here. Rotate it by 90 degrees on the x-axis. So this R then z by -90. Yeah, like that. Let's enable everything back. We can place a couple of chairs on the right side over here. So again, select this press Shift plus g. Children. Again select this press Shift plus D to duplicate. Then you can just Jeevan y and move them over here. You can rotate them a little bit. So just press R then z and rotate them a little bit on the z axis like this. Like make the positions a bit more organic. Selected, bring it out here in the front, like this, so that it does not look all very perfect, like they're perfectly aligned in a row or something. You can also maybe select the table, rotate it a little bit on the chair and it wouldn't backwards rotate it like this. So yeah, so that everything is not exactly 100% perfect because that looks a little bit. Maybe the table I will set back to zero only the rotation. You can select the empty only, then type in zero. Back over here. Yeah. So we kind of set up a layout of our scene. And now we can edit upon This, only. Add things and change the layout of the scene whenever we want. In the next video, what we will do is we will create a couple of more broad like these tables, some small stools, and yeah, we will add them to our scene. So thank you guys for watching. Make sure to hit Save. And also, before ending this video, I will select the room, press M, and move it to a new collection and lifts numerous as room. Because we will be adding some things later on like these ledges or these things overhead. We can add them to the room collection only. Now let's just hit Save and tenuous watching. I'll see you in the next one. 14. Creating Small Table and Chairs: Hello and welcome guys. So in the last lecture, we arranged all our props into a scene. And as I mentioned earlier, that we will be creating some more prompts like this small table over here or like this tool. So in this video, Let's do that. If you go over here, we have this reference image. So this is not really a reference image that we can bring in, bringing into Blender and then use it to model stuff. We need to just look over here from pure ref and then try to copy it up as close as we can in Blender already. So I will just disable everything. So you can drag your mouse like this and disable everything is enabled back the empty collection. Let's start by adding a cube. First, I will red-shift test and cause it to gold origin to bring the cursor over here, redshift pay, add a cube. And let's see. We will start by creating this thing over the David. So let's just scaled it down. Then press S, then z, and scale it like this. You want, you can see the dimensions from over here if you want to copy exactly, buddy, I'm just scaling it roughly. Move it up over here. And let's start by first creating a basic shape of the table. And then we will detail it further. Now again, I will press Shift plus S closer to select it this time to bring the cursor over here. Now add a cube, scale the cube down, and make it a little bit smaller than the first one. Scale it down on desert axis like this. Maybe around here. Let's select them both risk and role-play. Apply the scale. I will select this cube. Press Tab, press three for face. Select, select this face and also select the top face. Then press X and delete the feces. Because the table over here, as you can see, it's hollow. So we need to create that. Next press Tab again, select all of the faces to draft a, then press I to insert them. And if you remember, you can press I to insert them individually. Let's insert this till here. X and delete the phases again. I think this is a bit too much, so let's just undo this and insert it even more so that the space is pretty small. I think this is pretty good with x and delete the faces. Next we can select this, go over to modifiers and add a solid. If I modifier. We'll give this a little bit of thickness. Smooth and auto smooth. Alright. We can also increase the thickness over here. Yeah, that's fine. Next what I will do is again, select this press tab. There's one for the vertices, select and select all the bottom vertices like this. Alright, so now press Shift plus D to duplicate them like this. And now hit right-click to place them exactly. As you can see if I press G, there are two sets of vertices. Now we can hit right-click to place them exactly where they are. Now, press P and separate this. So if I press V, again, if I press P and select by selection, so whatever is selected, a separate object would be created out of that. So as we have selected these forward, he's now you can press B and separate them by selection. Now if you press tab, you will notice that this is a different object and these vertices are different objects. So we can edit them further. To create this bottom part. I will remove the solidify modifier for now and press tab There's a to select all four vertices. Let's see, we can press E, extrude them like this, then print straight to lock on the z axis. Let's move this to here. Now press S to scale it up. As you can see, it moves a little bit towards the out. Then we can again press E, maybe the Zen again and again press S to scale it up. Something of this sort. Now just press E and Z and scaling completely downwards like this. Let's see how much we have to scale. I will enable the human reference model. According to this. This table looks pretty doll. As you can see, this pretty tall for a table. So maybe we can increase the height even more. Let's say somewhere around here. Maybe having this selected all and scale it down. This way, I think this feels pretty good. Now, select this right-click Shade Smooth, and enable auto smooth. The next part that I want to do is obviously you can see all this empty space over here. Let's create that. I will just select this piece slash to go into the Edit mode. 74 top view press tab. And let's see, let's divide it. Let's divide this into four equal half so that we can read them and then use the mirror modifier control on it. Right-click. Keep on adding controller and keep on adding edge loops and hit right-click to place them in the center. And now just select all of this. So press Shift and select all this. And over here on the right, so that we have only one fourth of the model left, respects and believed the feces. The word seize. Maybe the thing I did wrong was I did not enable X-ray from over here. So extra helps us select like the vertices throughout, you can see only the top vertices are selected and the bottom ones are left. So plus x. Now in hold Shift select all of the rights or top side and the right side, like this. And now as you can see, everything's selected. Press X and delete. The word says. Next, let's add a mirror modifier. On the y-axis. Also. Press Control R and add edge loop over here, right-click and add edge loop over here. Right-click. You can select them both or select one at a time, G2 times, you can do two times moving just along the edge like this. You can see if we like move it along, you can see the values over here on the top left corner. So let's say we type in a value so that we can like perfectly align them from both sides times. Let's try 0.8. That looks pretty good to me. Let's select this one. This DB2 times then type in 0.8, okay, it goes to the other side. So this nine plus negative of 0.80 point. Next, let's see, I will press three, select this face, this face press X and interfaces. So I think this is pretty good. Let's add the solidify modifier now to give this thickness, as you can see, slash to come out of the edit mode or the isolation mode. Sorry. Yeah, I think this is pretty good in my opinion. I will just bring these down a little bit. And next we can select the top piece. Let's add a bevel modifier first. Just enabled both hard and knowledge and smooth. We can create these ridges like, I think pretty easily the stab. Let's add two edge loops like this. There's two for Edge Select Folder. Then hold Shift and Alt to select both of these loops like this. Press Control V, bevel. Then, first I will press S and Z to move them apart a little bit better. Now you can press Control V to bevel. Then you can add a loop just in-between like this, using a scroll wheel, you can add multiple, but I think one is fine. Let's press Alt, select this loop completely and hold Shift and Alt and select this one. Result plus S and scale it inwards like this. Make sure to scale it. This time. You don't have to like this S to scale them inwards. You can also press like just press S and then scale them inwards like this. Or you can just press Alt plus S. That will also do the same thing. It is basically shrink or flattened. So I would just press S now and scale them inwards. So that's pretty good. Select, let's select the top face and scaling this. And we can select the bottom face and I was scared it outwards. That's fine In my opinion. Makes either select this and add a bevel modifier. Lighter scale enabled, hardened normals. And we can kind of do the same thing. This also, alright, so Hristov and I will just add a bunch of edge loops in the same time. So let's right-click. Again hold Shift and Alt and select all four of these loops. And let's see, let's try beveling them and select the middle loop and see if we can create something out of it. I will this time press Alt plus S because scaling I think would work, that would result plus S. That works better. I think something like this looks fine because we don't have to detail, dislike too much because it won't even be that visible. One thing that I do want to do is I will select this. And you can hold Shift and setting these one-by-one. Let's select this and press G Then why? I wanted to just move it a little bit like this to increase the size of it on both sides. Yeah, that looks better. S1 and I think I will make the table a little bit longer. Enable X-ray and select everything. Move this down. And I think this looks much better. Next, let's create these designs over here. These are, I think pretty easy to create. You can select this piece, press Shift plus S then closer to select it to bring the cursor in the center. Let's start by adding a plane's press shift D. Let's add a frame. Rotate this on the x by 90. Scale this down, move it over here. And before doing anything, like, as you can see, the plane is currently in the center. So I'll press Tab to go into edit mode, then press a to select everything, then G to move it over here to the left side. You can scale it down a little bit. So the reason I did this in the edit mode is so that the origin point stays over here in the center of our table. So that now when I add a mirror modifier, you can see because the origin point is still here, we have like mirrored this perfectly. Now basically what I want to do is press tab this art and z and rotate it on the z axis by 90 degrees like this. Again, scale it down. This way. We can use this shape over here very easily. You can also enable distinguish over here so that you can see them. We didn't modify it somewhere over here. Select this. It's moving down. It makes sure to enable X-ray so that everything is selected. Let's move this down risky than x would like this. Even without. Then again either next. Edens that moves like this. Then make sure to enable clipping first. Now press E, then X and join them at the center like this. And you will see we have something of this sort. We can now add solidify to give this thickness. Apply the scale and you can see it pretty much have something like this. Let's increase the thickness a little bit and change it to even thickness. Or maybe select complex from over here. Then even these two are like collapsing or like merging. Overhead is because the space is too less. So you can press Tab and it will select this face and move it out like this. And you will notice that the issue is fixed. Degree the thickness to 0.21 maybe. Alright, so now we basically have to copy this on all four sides. So we can select this. Again, add a mirror modifier. Select the middle object as this, select the y-axis. We cannot really use them. They're modified to put it on the other two sides because it is not really at the center. So what we will do is basically just select this, duplicate, this press Shift plus d, z, then y. Let's move it over here. You can disabled limited modify for now, rotate this by 90, like this one for the front view. Here. I'm moving like this. And now basically again enabled at the mirror modifier. But instead of writing x expert in good. Let's create this bottom thing now. This one also is pretty simple to create. You can use the same thing that we used. Just select this press Shift plus d z moving down. You can keep something like this also. Or if you want to create something similar, Let's just select this press Tab and even x-ray. And let's do need all these vertices. Select the top ones, move them down. I'm selling this one. Press G the next, and move it like this after extruding. Yeah, pretty basic. Again, I will select this, duplicate this. So you can disable the mirror modifier so that it gets easier to place it. One again, moment like this enabled the mirror modifier on the x-axis. And yeah, that's basically it. You can give this, give them both a little bit more thickness on the solid devices, the viewpoints you like. This one also. Skip the 0.01. You can select it all. Then try like using scale, then press Shift plus z and you can scale it like this to make it just a little bit thinner. I think that looks pretty good in my opinion. We can select it all. I'll maybe first, let's add a empty sub-array shifting. Let's add an empty. Disabled the human reference. And now while the empties, the active selection, press a to select everything, then you can just right-click painting an object. A to select everything. Again, press Shift plus D to duplicate. And let's create a smaller version of this table like this. You can again press S then Shift plus z, make it a little bit wider like this. Yeah, that is pretty good in my opinion. We can maybe create another thing. Let's see. We can get something like this table that is very, very easy to create. Seven for the top view. And let's start by adding a cube. So press Shift plus. First, let's select it all m, and let's move this to a new collection and rename these two tables it okay. The shift day now and add a cube, LLC. We want to make this table a little bit bigger than these two. Maybe around this size is pretty good. Scaling down on the z like this, we can enable that the human reference to match the size of it with the pivot. So this table is like you're not that big, but not that small. Also. Let's create shorter like to Neil and I will first apply the skill staff press Control-A add edge loops both sides so that we can use the mirror modifier again to create the legs. So select the top side and selling the right side respects delete the word sees. The mirror modifier on the x and y. Now add an edge loop again, like this, you'd right-click. And like this, you can select the loop. Let's do two times. Again. Maybe I'll just type in 0.8. The move it to here and select this. And type in 0.8 are known as G2 times. And then type -0.83, select this leg over here, then rescued to extrude it downwards like this. It's a pretty simple stuff. We have created a very simple-looking david. Let's give this a bevel modifier, supply the skin, bevel it out. I didn't normals and enable auto smooth tab. Let's select this top face and liquid thickness a little bit. Now what I will do is I'm pretty sure I added in the reference image. Yeah. We can maybe use something like this. Like a design like thing over here. Give it a little bit more detail. Because right now this way it looks pretty plain. These are various different styles which you can trace it out again, a little bit long process, but yeah, we can definitely do that. Maybe I'll use this one because it's pretty simple to copy. And as you can see, we have image over here. Like this type of design. We can definitely use that. So let's see how we do it. First I will press one and quickly press Shift a, either image, reference image, head over to your reference images and add this one. Let's move it over here to the side. Start by adding a plane. The spleen over here rotate it first by 90 degrees on the x-axis. Enable X-ray by placing it in the center of this image, like the small one. Like place it correctly this way and just scale them down. Yeah, that's pretty good. This tab now, excited as you move in the same time, it right-click and remove these vertices. Again, add a mirror modifier. Just press a to select everything and press M and merge and center to create a single word. See listed over here. And we know again, just have to extrude it out completely. Rinse the reference image. I think this is the easier part. You can enable clipping and then join them in the center like this. Again, join these two now this tab, select everything, then risk F will fill out this phase. Now you can press J if you remember to use the knife tool and just create this cut out very easily. Now, again, this game, this out. Saying that again is three for face, select this face and this face with x. Make sure to select the small fees also are best x and delete the faces. I'm pretty much have our design. Well here, like this. And let's bring it over here. Selected design and David slash to go into local mode. Now how we will place it in the corner. So I think very easy to scale it down first. Scale it down even more. Scale it down till you feel like the size is okay for the tables. So I think somewhere around here is pretty good. This is like not to be not that smart, so yeah, this is pretty good. Now you can press tab, go into the Edit mode, enable X-ray. And basically what I will do is press one for the vertices, select and select all of these vertices here and leave these two, just these two. And you can basically now because g Then x and scale it out like this, we get a straight line. Then you can move it in the same time. To do it even better. You can select this first, then select this, then press Control Z. If you remember the copy, the location that they're exactly at the center like this. Now, open this divergent and normally like this. And it would be exactly perfect on both sides. So yeah, it will be a little less effort. Now we can select this, add a solid. If I modifier, I give this thickness. You can shoot smooth, enable auto smooth. We will modify them in the, yeah, I think this looks pretty good. You can select this again, add a new mirror modifier. Select the table as the middle object. Select the y-axis instead of the x. And we have duplicated over here. Now let's just duplicate it over to the other side also. So again, selected redshift plus dy. Moved out over here. You can press Add and z type 90. Let's disable the mirror modifier. Three for the right side view and place it in the same time. We can also use the Control Z command for this to copy the location exactly what I think is pretty good. Now enabled the z axis or the exciting yeah, on the x-axis. And we pretty much have our table. I think this looks pretty good. This last to come out of the local mode. And you're just adding this part gives it. A lot more detail and then select it and maybe increase the scale if you want to. Select individual origins from over here. And let's scale the design and implement. Yeah, that's pretty good. Save. And again, I will press Shift plus S because they're selected to bring the cursor over here. Again, let's add an empty. Make sure wild empty selected. Hold Shift and select these two objects like these three. And also before like parenting any object, make sure your MD is the active object. And if it is not as easily make it the active object by holding Shift, taking it once so that it is de-selected and again selecting it. And now it is active object. Right-click bearing an object. And you can see you can easily move these three. The next thing to do is far as disabled human read selling this thing, this m would do the reference images. Let's enable everything. You say, well this next extra part I think, and also disable the difference images. And yet now we can select these. Let's select this one. Maybe I'm placing it over here along with the chairs. These are like not really conform. We can change it whenever we want. But I'm just placing it for the sake of it just to see how it looks. Select the chairs, you can move them a little bit on the right. Select this model one. Is this one over here. Select the table and place them between these two. Select this thing and select this and move them. On the y-axis, like this. Is the table over here, or over here, it looks pretty good. I'm just arranging the layout a little bit. You can obviously do it according to your wish. You can change these things whenever you like. Just placing them. However, I feel like it looks good. So obviously you can change them however you like. Maybe I will select the room and the scab. X enable X-ray. And I will move the location of this window. You can hold Alt, select this, press G, the invite. Excellent, this complete. This also. Then press G, then move it to here, maybe just a little bit further. And now select the window object. And also no good towards the left like this. All right, that looks pretty good in my opinion. You can also duplicate these objects however you like. You can place them or change the layout. Yes, I already said that. So yeah, I think we are done with this lecture. This was pretty long one. So let's just save files and we will continue from here in the next one. Thanks for watching. 15. Detailing the Room: Hello and welcome guys. So now we are almost done with modeling all the major prompts of our scene. So in this lecture, we will detail the room a little bit more. And I will be making a couple of changes to the Windows. Let's just start. First, I will use disable everything and only enable the windows. We also have this table left outside. So let's just quickly add this to our collection selected. I'll press M and add these two tables. Alright, so basically what I want to do now is I want to add a couple of panels on top of the window to make them look even better. So let's just select this press Shift plus S goes to select it. And let's add a cube like this. Move it to the top down on the x-axis. And let's see, I think this one is pretty good. Select this press Control J, apply the scale. And before like detailing it, Let's just add a modifier. Set the X factor to zero, and increase it by a factor, and we will be duplicating it this way. There's three for the right side view also add a modifier. Now let's just add a modifier. So I want to make sure that it fits perfectly over here. So just press Tab enable X-ray or we can basically just increase the scale like this. Here. Select this, decrease the bevel amount. Yeah, I think this is perfectly without windows. Now we can start editing them. Let's reduce the scale on the x-axis. Also increase the offset a little bit so that we can see them properly like this. Alright, so that's pretty good. Press Tab now. And let's see, plus three for Face. Select, select this face and this face. Press I to insert. Let's insert this till here. Press X and the phases. Let's insert a little bit more. So plus I again, insert this till here, plus x delete the faces. Now basically hold Alt and select both of these loops. You can press Control plus e, then bridge edge loops. So pretty simple. We can now sheets would this apply the skill and enable auto smooth over here and enabled harder normals. Any of these panels look pretty good in my opinion. Next, let's just create a very basic design. To fit into them. I will select this press Shift plus S and cause it to select it. Make sure that the cursor is in the center of this cube. You can select this global two objects at origin. And originally geometric, it was exactly our center. Now press Shift a, add a plane x rotated on the Y by 90. And quickly just add a mirror modifier to this. So add an edge loop in the middle. Delete board these vertices, and add a mirror modifier on the y-axis. Let's see what we can do now. I will add a skin modifier to this step, press a to select everything. And then you can press Control a to like the thickness. And basically press Tab now and just press Control R. And you can just add edge loops like this. And I'm just creating something very basic. Two edge loops like this. Scale them up. Stab. Now let's press Control R at a couple of more edge loops in the middle. Basically like to create a better design. What you can do is enable X-ray and select the word edges that you want to delete. You can press X and delete these edges. We can create some sort of very simple design. Let's see. Something like this also looks pretty good. Yeah, I think I will just go with this only. Select this sheets mood and enable auto smooth. And again, let's just add a modifier to this. On the y-axis. I'll just duplicate this five times and make sure the last one fits perfectly. If the last one fits, rest of them would fit automatically. I think 1.031, 0.025. I think it would be pretty good. Yeah, that fits it perfectly in my opinion. Let's just hit Save. Select this, press M, and move this to the Windows. Both of these objects. Now let's enable back everything again and try to adjust the room according to these windows. Disabled the extra leg room press Tab, enable X-ray. Let's just select this top loop. What you can do is press three enable X-ray and just select this completely like this. Instead of selecting them one-by-one, then there's gene and z and move it to here. Yeah, that looks pretty good in my opinion. Now, the next thing that we want to do is we want to edit the room a little bit. So I will disable everything and just keep the room enabled. I'll let start. You can quickly open up pure ref. To just get the differences. We will be getting these sorts of things like this design over here and adding a couple of good images like this. And that would add a lot more detail. Let's just do that now. So first let's create these wooden edges over here on the top. So what I will do is first I will just complete the room. So I'll select this step and press two for its select, you can select this edge, this edge, press F, and then select this one and this one. And press F to fill in the space just so we cover everything. And now, to create these wooden edges over here on the top, it is very easy. I mean, you can do that on your own first tab. And let's see, hold Alt and select this complete loop. One thing that I want to do before doing that is I want to reduce the height of the room a little bit. So just select the top three phases. Jeden zed, and move them downwards just a little bit. Yeah, that's pretty good in my opinion. Now, we'll press tab and select this complete loop. And instead of extruding over here, let's just duplicate this press Shift plus D. And you can see we have created a duplicate loop and now hit right-click to place it exactly over here on me. Now we can press P if you remember, and now separate by selection. So what has happened basically, if you press Tab to come out of the edit mode, we have two different objects now. We can just press Tab. Now press a to select everything. Let's see. Then we can press Alt plus e to extrude faces along normal. And then extrude it like this. Give this thickness. So you can see we have added a bit of thickness, or maybe even a better way to do this wouldn't be too. Instead of extruding, just select this and add the solidify modifier. Now we can adjust the thickness however we want. And yeah, I think that is pretty good because it is really just haven't loses, keep it this way. Next, let's create this thing over here. This plank is coming down over here along the windows. So we can maybe estab, let's enable X-ray and let's see risk controller and add edge right over here. Let's add this edge loop over heroines will suppress control on an ad like this. G then, right? And hold Control to snap them both together. Enable X-ray. And let's select this edge from both sides. And risky than z to extrude downwards like this. Yeah, I think that's pretty good. There's three slash to come out of the isolation mode. Enabled back everything just to see how it looks. Maybe we can give it a little bit more thickness. This. All right, now let's just select this press Slash. And basically receiving for the top view, let's press Shift. They add a cube, scaling this tube down. And we now basically want to create this thing running along to the center. That's pretty good. I think there's pretty slashing him to come out of it and see how it looks. I think it's looking pretty good. We can add Bevel modifier to this control. They apply the scale. Okay, so now that we applied the scale, the solidify modifier also change so just increase the thickness to fit properly. Yeah. Enable auto smooth and also enable hardened animals from here. Now basically we can be this design lighting over here to add along the edges. And if you look through the reference images, you can see there is some light shading issue going on over here. So basically to fix this, just select this thing over here, press S and X and just scale it a little bit on the x-axis like this. You will notice as soon as you like, scaling down on the x axis just a little bit, it will fix itself. So to scale like very little, you can press S then x, then hold Shift to scale it very slowly and scaling down. And you will see that it disappears. Now press S and Y and also scale it down very little on the y-axis. The same thing on the zeros. So I'm going to select this one. And now press G and Z and move downwards a little bit. Basically now everything wouldn't be fixed. Alright, so if you go through the reference images, we can use some sort of design and add it. Now you will start to notice why I deleted this face over here because it is really difficult to move in and out. Again, delete this plus x and indeed the faces. Because we have created this thing out so we don't really need to have the face. I will just add back the face when it is completely done and it is time to texture. This way. It is then easy to move in and out of the room. Alright, let's bring in this image now and create this design. So I will just minimize PRF specific one for the front view redshifted image, add a reference image. This one. Obviously if we want to create like any other design from here or from, you can search it up on the internet and you will find a lot of these corner designs. So yeah, you can definitely do something else if you want to shift a and let's add a plane. And to create this, it is very, very easy. First, let's move the plane in the front. I selected the plane. I have to go into the Edit mode. Select this. Now press tab and let's see how we can make this. I think it would be really easy if we add the solidify modifier. So I'm placing this plane over here on the bottom like this, LLC. If I add a solid, if I modifier, first, let's apply the escape. The thickness in the negative direction just to place it like this. Now press Tab enable X-ray. Let's see if we can create something. I press E and Z and extrude it towards the top like this. Make sure to enable even thickness. And you will see as soon as you enable even thickness, it matches perfectly with the corners. Now keep on pressing E. Then X. Forgive we need to extrude it till here only AT this time, extra till here, then press Eden. Eden x and z. I'm pretty sure this is easy for you. Let's just go through and once again, press Tab and now enable extreme, make sure to enable X-ray. Select any one of the edges, press Shift plus D, and place it like this. Now press E. As soon as you do that, you will see it has appeared, suppress Eden z. Place it in this corner only plus ys and xs. And now like this, even Zelda game, here, only e x. Okay, no, we need to go to the bottom. There. I think it is pretty easy to do. Even Zen. Again, select any edge, duplicate this press Shift plus d. Let's place it over here. X lives. Just to complete this, I want to select this continuously move this down. Here. We need to like place this one over here. Just only thing we have to make sure is that we place it on the credit side of a lake in these shapes. Let's just select this blizzard at the bottom. We all know Stan. You can see we have created this very easily using the solidify modifier. Now, let's just select this, this, and this slash three for the right side. New. Place it over here like this. Are you rotate it. It's rotating around the y-axis by 90 degrees. My vanity and rest one and place it like this. Now to reduce this thickness, don't just like degrees the thickness of the solidified because it is a different kind of thickness for the solidify modifier to degrees this thickness, just press S to scale it, then press Y, and you can scale it down this way. Very easily. Select this thing and also increase the thickness of this. I think it is too little right now. Can decrease the bevel amount a little bit. Obviously, we need to decrease the size because it is too large right now. Let's just place it accordingly. You can place it this way. I'm thinking it looks pretty good. Now just select this, add a mirror modifier. And maybe we can basically select the room as the middle object. And yet it has mirrored perfectly. Now, maybe I'll increase the size even more because I think that's better. Let's just hit Save. I will select this now, press M and move this to the reference images. These two, this one and this. I think these all belong in the room collection to press M and move it to the new yep versus hit Save. And here basically this was the objective of this video we have then I will see you in the next video. Thanks for watching. 16. UV Unwrapping the Table and Chair: Hello and welcome, nice. So now that we're done with modeling most of the major products of our scene. We can focus on UV unwrapping and texturing them one by one. After we're done with the text, we can again focus on modeling some of the smaller props, like books, vases, screws, things like that to fill out the team and make it look better. Let's start. I will first UV unwrapped our table and our chair. So yeah, let's focus on them one-by-one. So we can just quickly disable everything and just enable the table and a chair collection. Alright, so now first thing that we have to do is we have to apply the modifiers because the UV unwrap them. We need to apply all the modifiers because if you select this table press tab, you can see this only has like one-fourth of it and the rest of it is done by the mirror modifier. So obviously to UV unwrap this, we need to have the complete table. For that. We need to apply all the modifiers. One thing that I want to mention is that after you apply any modifier, the changes done to that particular object by that modifier would be permanent. And you wouldn't be able to make any changes later on. So if you don't understand what I just said, let me just quickly make this clear by adding another cube so you don't have to follow me. I'm just doing this for demonstration. Let's say I select this. Let's say I add a bevel modifier to this, and I are just the bevel. This amount I will increase the segments. Let's make this moot and enable harder normals. Alright, so now we have this cube with the bevel modifier over here with us. We haven't really applied any modifiers, so the modifiers are not like not applied. And we can adjust the amount of the bevel. You can see we can adjust it to any way we like. We can increase or decrease the amount of segments and we can do all sorts of things. But now, let's say, I think that yeah, I feel like this bevel is pretty good. I just apply the modified light UV, unwrap this. So I hit Apply. And now we'll press tab. You will see the modified is now applied and we cannot really make any changes to the bevel amount down. Now that change is permanent and we cannot make any change to that particular bevel modifier thing. We can undo it and move back. Now you can see the modifier is again not applied. And we have only this cube. But as soon as we apply this, everything is fixed and permanent and we cannot make any changes. So here you just have to make sure that whenever you apply any modified to your model, you happy with it and you don't want to make any further changes. But yeah, let's say further down the goals. We want to change something later on without like table or chair. So if that kind of situation arises, what I will do now is I will just create a duplicate of this fight to keep like backup so that if anything goes wrong later on, we can always come back to the backup file and use that. So just hit Control Shift and S. And over here you can save as you can create another file. So he put Chinese room and in bracket I will write applied. This just means I will apply all the modifiers in this particular file. And we will have this file as a separate backup file for us if anything goes wrong later on. So let's just hit Save As. And you will notice now we are working in the Chinese rule applied file. So we have basically two fights now. We can, we can be carefree and easily apply all the modifiers and we don't have to worry about anything. Right now. You will notice if I press Tab and move any part of the table, we can only edit the one-fourth part of it, and the rest of it is handled by mirror modifier. But let's say I just select this, apply the middle modified. So to apply any modifier, you can click on this arrow and hit Apply. Let's apply the bevel also. Now you will press tab. You can see you can edit any part of the table. And the mirror modifier is not really working because we have applied it. And yeah, this is like vomiting now. Alright, so you know how to apply the modifiers. You can select any object and go over here and apply it. But obviously we won't like select each and everything and then apply it because that would be like really long process. So the shortcut for this, you can just press a to select everything. Then you can press F3 and typing convert to mesh. You will find this command convert to mesh over here, select this. And now as soon as you do that, you will see all of the modifiers are applied. You can see there are no modifiers in the Modify tab. You can press tab and see for yourself the modifiers that applied now. Alright, so the next thing that we have to do is we can now start with UV unwrapping. So before that what I will do is I will just select these two chairs. Because obviously we won't be like exporting three tiers from blended Substance Painter because we don't really want to texture the chair three times. We will just share it one time and then again we will duplicate it or add the same material like those types of thing. So we can just select this one. H to hide them because you only really need this one chair. Alright, so let's see. I will move it to the UV Editing Tab. And first thing that I will do is I will press a to select everything and make sure the scale is applied for all of it. So press Control a and apply the scale. Because the scale is not applied, we can face some problems where UV unwrapping. So make sure to just press a, then press Control a and apply the scale. All right, one more thing that I want to do before UV unwrapping is let's go back to the Layout tab. And I want to add materials to both the chair and the table because when we export them from Blender Substance Painter, we need to have like materials added to all of these objects that were like Substance Painter, we can create different texture sets to work with. You will understand when we export this to substance painter, what I mean by this. Alright? So basically, let's select this part of the table. Any part you can select. Come over here in the material property staff. Let's create a new material. You can rename it over here and let's just rename it to writing table. You don't have to do anything else, just create a new material. And now we need to add this material to all the parts of the table. So again, there is a very easy shortcut to do this. Let's just disable the cheer for now because we don't want to add that material to the chair. So I will disable it for now. And now. Select this thing. Select that part of the table that you have added the material. So this one part I have added the material to. Now, while this is selected, this is the active selection, press K to select everything. Then you can press control plus L. And you will see this link transfer data menu. And you can link materials as soon as you do that. You'll see now it is written over here. That means this material, this particular material is being used by a different objects. So yeah. You will see as soon as you select them, this material has been added to all the parts of the table. All right, Let's enable back the chair now. 74 top view. And I will just disable the writing table because now we will add the chairman here. Select this, create a new material, your chair. We don't really have to add the chair material to these pieces, I think because we will be duplicating them like later on anyway. So I can just select them all and then press H to hide them for now. And we have added a chair material to the seed. So while this is selected recipe, then press Control L link materials again. You will see the standards written over here. So this material is now added to all the other chair parts. Alright, so yeah, basically that's done. Let's enable the writing table and move over to the UV Editing tab. All right, so one thing that I want to again mention is whenever we add different materials, we need to like UV, unwrap them separately. So let's say if I added the same material to like both of them, the table and a chair also, I added the same audience, then I would have to UV unwrap them on the same UV map only. Now that I've added different materials, like we have separate materials for the table and a chair. We need to UV unwrap them separately because they will have separate texture sets in Substance Painter. So yeah, if you don't understand it, understands this thing right away. It's okay. You will get it when we will be moving on to texturing substance painter and exporting all that stuff. So first let's UV unwrap the table. So select all parts of it. Make sure nor none of the parts of the chair are selected so we can disable it. And yet just press a. Then press Tab, press a to select everything. And you can select this option. This will just select the corresponding vertices in the UV map, as you can see in the 3D view also, you can also enable display stretch to basically stretch shows if you're uv maps are stretching or not. So this blue color, this dark color, blue is like perfect color. So if this is your, this is the color of all your UV islands. That means your UV unwrap was good. And if the color is like something different, like green, yellow, red, that means it has stretching and you have to fix it. Alright, so for this, I will just quickly use a smart UV project so that our work is done quickly. So just press a to select everything. Rescue and smart UV project it. Okay. And you can see that the UV has come out. I think it's fine. We can open this option up. And we can increase the island margin just a little bit. Not too much. Island margin is basically the space between all these islands. Here. We can just set it to maybe 0.001 to fill out beta and press Tab to come out of the edit mode. And now let's just enable the chair. Disabled the writing table. And I will again hide these two chairs. We do not really need them. If you want, you can also delete them. We will add them later on anyway, so yeah, if you want, you can just delete them, but I will just keep them around and press H to hide them. This chair, press a to select everything. Stab, press a again, select everything and press U and smart UV project hit. Okay. And yeah, I think this European rabbits pretty good, I'm happy with it. Let's just keep it this way. We don't really need to change the eyelid margin or anything like that. You can play around with the angle limit and see if anything comes around your liking. But I think the default values are fine. All right, so let's press tab and come back to the layout tab. Alright, so we are done with the UV unwrapping of these two objects. And now we can finally export them from blender to Substance Painter. So one thing that we should always check before exporting from Glenda to Substance Painter is quickly click on this arrow and enable face orientation. And you will see that you will see this darker blue up here. So this is like for checking the orientation of the normals. So if you see this blue color over volume at like objects, that means that normals are perfect and they are good to go. But if you see this color, so there are only two colors in this. If you see this color over here, show you if any of your object is like this red color. That means the normals are flipped and you just need to reverse them or we calculate them. So to do that, just select it, press Tab, press a to select everything. Then you can press Shift plus n to recalculate the normals. Just make sure all of your objects are this blue color. That means the normals are good to go and anomalous or not flipped, red color means the normals are flipped. Quickly, fix that if there is any issue, and then we can get ready to export them into substance painter. Alright guys, so now before exporting, one more thing that I want to do is let's just turn off face orientation for now. I will just select this chair. Make sure to de-select it. David will just select this year. Okay, I forgot, we can just select this empty. And here I will select it and move it a little bit backwards. The reason I'm doing this is whenever like objects are too close to each other in Substance Painter, they can mess with each other while baking them HashMaps, like we need to bake the mishmash been in Substance Painter, it isn't necessary process for that. I'm just keeping the objects a little bit far away so that they don't really mess with each other. We can move them back at the original position when we are done with the texturing. So to export, press a to select everything. Then you can go over to File Export, select FBX. And then let's come back to our exports folder first. And I will rename this to table and chair. You can limit to selected objects. So what this will do is only the selected objects will be exported. So right now, these are the only objects in our scene because we have turned off everything. But yeah, we can just still enable selected objects. And you can see we have this object types over here. We have different object types like empty camera. So we don't really want to export these empties with us into Substance Painter. So I will just select mesh from over here so that any other object type is not really exported with our model. Alright, so hit Export. Now, we can quickly open UP Substance Painter. Alright, so substance painter has opened up. Let's close this and create a new project. Click on New and go ahead and file select. You can select this table and chair FBX file that we just exported from Blender. So open it up. Rest of the settings, you can just keep them as they are because we can always change them later on in Substance Painter. So it does not really matter what we keep over here. You can send the document resolution took a normal map format can be anything, because eventually we will be rendering all this in Unreal Engine. Unreal Engine, I think uses direct text format, but Blender uses OpenGL. So again, you can keep this at anything because we can always change it while exporting the textures. So we'll just keep it going. Opengl only rest of the settings are not really of any use to us, so we will keep them at default and hit Okay. You can quickly look through your model if there are any issues with the exporting, if they're initiating issues or anything like that. I don't think there are any. Now I will go here in the display settings. As you can see, we can see all these jagged edges over here just come down over here and enabling temporal anti-aliasing. And you will see all those jagged edges have disappeared, so you can enable this. Next. If you remember, I mentioned that we need to bake them HashMaps. So yeah, whenever you like, add anything to Substance Painter, the first thing that you need to do is bake the mesh maps. So for that you need to head over to picture set settings window. If you don't find this, you can go to Window Views and you will find textures, et settings over here. You can open it up. Also, if you are not really familiar with texturing and Substance Painter, I have a complete guide to Substance Painter scores that you can check out. It will take you from absolute beginner to an advanced level. So yeah, you can definitely check that out if you want to. But don't worry, I will be explaining everything that I do in substance painter here also. But if you need an in-depth guide of everything, yeah, you can definitely check that goes out. Alright, so let's move on to baking the HashMaps. I will just click over here on this button because HashMaps and this window will pop up. Again. We don't really need to change many things because the default values worked pretty good. And I don't really mess with things over here too much in the baking window. So the first thing that we need to change is the output size. The bigger the better. You can definitely get away with to kill. So it is pretty good, but I will just select for K. It is to have lego really nice quality. Next thing we can do is we can enable this, apply diffusion and use low poly meshes, high poly mesh. So basically this is used when there are two different meshes to begun to each other, like low volume and high volume, but we only have a single mesh, so I will just enable this. The last thing to do is we need to come down to anti-aliasing and we can select four-by-four and rest. Everything is fine as default, you can just also disabled this ID map because we won't be really using id map workflow. So we only need these six mesh maps. So you can just keep them in and rest everything you can keep as disabled. And now select, bake selected textures and just wait for them to finish. It might take a little while, so I will discard the video and resume when everything is done. Alright guys, so the baking is done now you can hit Okay. You will notice that the mesh maps are like filled over here. The slots were empty earlier, but they are fairly now for the ones that we selected. And you can just hold Alt and use your left-click to move around the scene and to just look at the big if it came out good. And yeah, I think it is pretty good. They are not really any shading issues. Also, one more thing that I want to show is you will see this texture set list over here. We have these two materials that we added. If you remember in Blender, we added the writing table material and the chair material. You can easily enabled and disabled and see these materials. So here you will notice that adding different materials is a nice way to distinguish different objects in substance painter, as we can like work on them separately. This is not really a complex object, but when there is a complex object, adding different materials really helps because you can isolate things out and work on them easily. This is what I was mentioning. You can add materials in Blender and they will transfer onto this texture sets in Substance Painter. And we have two different texture sets in this project. One of them is the writing table, and one of them is the chair. Both of these will have separate lectures. Just make sure you add like not too many, many years, but also not too few because we have to like have the proper resolution. So just make sure to add the right amount of materials. Alright, now we can move on to texturing them. We will start by creating our very own words smart material that we will be using a lot throughout this course. I think this is it for this video. Let's just quickly save our projects. So hit Control plus S. And in Substance Painter files folder. Let's rename this to chair a table. And yeah, we will start working on the smart material in the next video. Thank you for watching. I'll see you in the next one. 17. Texturing the Table: Hello, Welcome guys. So in this lecture we can finally start with the texturing of a chair and table. And as I mentioned earlier, we will be first creating our mood smart, muddy here. Alright, so to start off, there are a couple of things that I want to mention. If you want to create a layout of a substance painter like mine, you can easily drag and drop the windows like this Only. You can just select it and keep it, place it anywhere you like. And you can easily create this layout like mine because I think this one is pretty good. But he obviously it is totally up to you. You can create something that works best for you. If you want to bring in some of the windows, if you don't see any one of these over here, the properties, layers or anything like that. Again, go over to Window Views and easily bring them in. Alright, so next is I will be mentioning each and every shortcut that I will be using. But in case I forget it, I've also added a file in your course files. Open that folder up. And in Substance Painter files folder, you will find this Substance Painter shortcuts. You can open this file up and you will find all of the substance painter shortcuts on a handy cheat sheet so you can quickly go through it. If I forget any of the shortcuts, but yeah, I will be mentioning each one of them when I will be using them already. So yeah, you can definitely go through this and learn some of them to make your workflow faster. The very basic shortcuts like holding oiled and using a left-click to rotate. You can use your Alt and left-click to rotate the scene. Then you can use it and use your right-click to zoom in or zoom out. But I think a better way to do that would be just use your scroll wheel to move the scroll wheel up or down to zoom in your scene. And you can hold Alt and click using a scroll wheel. So don't like scroll up or down. You can just click using the scroll wheel and then you will be able to pan the scene. These are some of the basic shortcuts. You can also snap your view by holding Shift. You will see if as soon as I like Alt and left-click and move the scene, if I hold Shift, you will see it snaps to like perfect 90-degree angles. It will be better seen if you like, change the view from perspective to orthographic. This is the top view, bottom view, right view, all those things that we did in blender, you can just hold Alt and Shift. Then you left-click and you can see this is the front view, this is the top view. While holding Alt and Shift, we can snap any kind of movements. So that is also very handy. Right now. Let's just change this back to perspective only. We will be definitely using orthographic later on. But right now perspective is pretty good. Alright, so start off with the texturing process. First. Let's select the texture set. From here. I will select the table texture set because I will be creating a texture in that. So select this. And in the Layers tab you will find already empty layer has been added. So I will just select this and delete this using this button over here. Just delete this layer. Alright? So any of the layer that is selected over here, the properties would appear over here. Let me just show this with an example. So let's say I just select this bras pure material from the materials section in our assets are the shelf. You can just click over here and here or like different portions of the shelf. Like this is your base materials. This one is your smart materials, this one is smart masks. And then this is filters, then brushes, alphas, textures, yeah, all those kinds of things. We also have the environments. Environments are basically different types of lighting in your scene. You can view different types of lighting. Like first I will show you you can hold Shift and use your right-click. Rotate the lighting in your scene. And you can also change the lighting. You can just drag and drop it like this. Let's select this. Maybe. You'll see the lighting is now kind of greenish because I think this is a cave entry forest environment. That's where it is kind of greenish. You can use different lightings to view your model. I think that's pretty cool feature, but we will be just using the basic one that is the panorama. Let's come back to the material section. And I was mentioning about the properties. We can drag and drop any kind of material. Let's say this simple grasp your material. This is a simple metallic material, brass metal in it. If you select this layer over here, you will see we have some of these properties. So this is basically a fill layer. You can change things like color. You can also change stuff like the metallic and the roughness, all those things like that. We will be also like adding different types of layers. So this is like a failure which lie completely fills the material whenever it is added. But there is also different types of lead, which is this icon. This is a paint layer. So when you add this, we will see you can paint on this layer easily. You cannot paint on a fill layer, but you can paint on a ventilator. These are like different types of layer. Let's just delete this. And the next thing that I wanted to show you is the difference between smart materials and base materials or normal materials. So if you remember, we baked the mesh maps earlier when we started our project. So for this reason we being damaged maps to use features such as smart materials and smart masks. So you will notice like a base material or a normal material when you click this first icon on the shelf, this is like a simple base materials section. Let's say I drag and drop any materials, e.g. gold pure material. This is like a very simple material. The first basic difference between base material, smart material is material is just single layer. So this is just single layer. It does not have any kind of details on it. Things like roughness, variation, dust, damage, all those things are base material is just simple, like single layer material that we can easily build upon. But yet smart materials are like fully-fledged, already created a materials for you that you can use very easily. So for a very simple example, let's say we have this gold pure base material or this normal material. Let's select smart material. And we also have this gold damaged material. So let's drag and drop this over our table. And now you will clearly notice the huge difference between a normal base material and a smart material. So the very first thing, a novel material is just a single layer, but smart Medina is like a folder. It is like a collection of many different layers that are added together to create the smart materials. We have this base layer. The base layer is same as the pure material only. So as I said earlier, we can use the base materials or the normal materials to build upon and add more layers to create a new smart materials. You will see different things like we have this surface green. If we look closely, we have the surface green thing. We also have this dirt layer. So many different things that are added to create this goal damaged smart material. So this is like the basic difference between smart material and a normal base material. So let's just quickly delete them both now. And we'll start by creating our final. Alright, so as I said, we will be first adding a base layer. So if you click over here on the search icon and search for good, you will find this would American cherry that is added to each and every substance painter by default, only like all of these materials will be present in your Substance Painter also because they are added by default to provide us with a gate so that we can texture easily. Alright, so you can click over here on the Materials section. For good, drag-and-drop this food, American cherry on our table. And right away, I think it looks pretty bad. Alright, so let's try to fix it up a little bit. You can click over here and you will see all these properties are appearing of this particular layer. Alright, so the first thing that I want to change this right now the projection is set to UV. Uv protection is like if you press F1, you will see all these UV islands of our table. So urine production is based on all these UVs which can create this kind of disconnected type of loop, as you can see. Because these islands are different. Texture also looks like as if it's different over here and it is, and it is different over here. This appears like a very unrealistic loop. And I don't really want that. Luckily, there is a very easy fix for this in substance painter. You can see it looks very disconnected because of all the different UV islands. Let's quickly fix this first press F2 for the 3D view. And you can change the prediction from over here. So I think the best prediction to go for it, it's traveling a prediction. And as soon as you do that, you will see a texture looks much, much better now as if it is like a single entity only and not breaking up into different parts. Alright, the next thing we can do is we have other options over here. You can play with the tiling, so the dialing will decrease. If you increase the tiny, the scale of the texture will decrease. And you will see it looks quite repetitive. Now, let's set the tiling to something like two maybe. Alright. You can also change stuff like rotation. But I think setting it at zero is best. Alright, another thing that I will show you is if you open up this 3D prediction settings menu, you can offset the actual little bit. What I mean by that is let's say I don't want this part to appear over here. I want it to appear a little bit down. So what I can do is you see this offset over here, not the rotation of the scale. We will change the offset by move the z you will see is moving like this. So I think the why, yeah, I will just increase or decrease the viral little bit. Move this down like this so that the darker parts appears towards the bottom of the table. And also I will also move the z so that we have something like this. I overall one to make it appear a little bit lighter. Yeah, that looks much, much better in my opinion. Next thing that I want to change this, if you look closely, we have the normal details like all these ridges and details of the work that are added to our table. I don't like I don't want it to be this harsh. So I just wanted to reduce a little bit. So scroll down. You can also change things like layers you will see. But I think the default for is fine. You can also play with the fibers. If you look closely. It doesn't make a little bit of difference. Let's set this to one only. I think it's fine. Next to open up this technical parameters. And we don't want to like change too much stuff over here because I think the default is a pretty good job. The only thing that I want to change is this height range. You will notice if I increase this, the height, height information is like very harsh now. So I wanted to decrease it by quite a bit. In my opinion. I think 0.02 is pretty good. Obviously, many of these things are laying completely personal tastes, so you can adjust them according to you. But I think 0.02 is fine. Also another thing, another thing that I want to show you is let's say if you're feeling like the texture resolution is pretty low. That is because the substance by default, if you go to texture sets settings, shows the size that you selected earlier when we created the project. So currently the size is set to two k. Okay, just wait, it is saving. Yeah, Currently the size is set to two k. If you are like Substance Painter is kind of lagging a little bit, you can decrease the size. It does happen when the model is very complex. As soon as you decrease the size, you will see. Now the resolution is even lower. But Substance Painter would be like really fast to calculate and compute all the stuff. You can set it to very low also. Now basically it is just nothing. The resolution is soloed, soloed that we cannot even see the details. Let's set it back to two k. But if you want to view your model like a good resolution, you can also set this to forget. It will make your, you will notice that the texture is like much sharper now as the resolution has increased, but it might get a little bit laggy. So let's set it back to do humanly. And yet we can move back to layers and let's start working again. So I will add another layer over this. Now, I will choose another one of our base materials only if you see this wood walnut. But let's drag and drop this on top of our good American chains. Make sure it is on top of the wood American Jedi and not on the bottom. So just move it towards the top. Now you will notice that we cannot even see a little bit of this layer, would American cherry, that is because this is a fill layer. Whenever you add a fill layer on top of another, the one at the top is only viewed and the rest of the ones at the bottom disappear. That means if you click on this icon and let's say I add another fill layer, you will see now we can only see the white color. So what can we do for that first, let's just delete this fill layer and try to adjust this wood walnut layer a bit. So again, right now descent the UV protection and the texture looks really bad. So quickly. Send this back to try. And yeah, that looks much, much better. Let's see. I will keep the tiling and the offset, all of those things to this only. Maybe for this one, I think everything is pretty much fine. We don't really need to change much. But to make this layer appear again, because as you can see, it is completely disappeared. You will see this 100 written over here. So this is like the Opacity channel or your opacity slider. You can slide this down and you can control the opacity of your layers. You will see as soon as you set this to zero, we can now see our bottom layer because the top one is basically invisible as the opacity is set to zero. So let's set the opacity to maybe something like 75. Now you will notice we can see both of the layers a little bit because we have set the opacity to 75. So we can see a little bit of the bottom layer and it adds a nice bit of detail to our material. As you can see, this word wall and a clear, as I kind of want to go for a darker colored or table. That's why I'm setting it to this. Alright, let's see. I will select this back again and we can also change the color of the wood from over here. You will notice, I have already decided on a color, but you can obviously play with this and experiment and find what looks good for you. Or you can just type in the values I use. So for the h value 0.054, only, for the saturation 0.6, 71.4, the value 0.543. Alright, so next I think it is time to add a little bit of dust to our good material. We have added a base layer. So next we can add things like dust or maybe edge damages to make art would look even more detail. But first what I will do is I will click on this folder icon. To create a folder, I will select these two layers. So hold Shift to select them both and drag and drop them inside. Rename this folder to. We can write something like course. So that we know when create a smart material of this, we know that this material is of our course so that we can easily identify this. I feel like this is it for this lecture, we can continue with creating a Woodmont. You're adding things like dust is damages, all those things. In the next lecture. Thank you for watching. Make sure to save a substance painter file so it can float plus S. And I will see you in the next one. 18. Understanding Masks: Hello and welcome guys. So before we start to work on a word smart material again, there are a couple of things that I want to discuss before in this lecture. So one of them is I want to improve the color space of a substance painter a little bit. So by default, substance painter works in a linear color space. And that can cause a little bit of issues for us. Like it is not that serious because it does not affect our texturing in any way. The thing is, when we export this out to Unreal Engine, odd colors can end up looking a little bit different. So to make sure that does not happen, we can make our colors accurate what they will look like in Unreal Engine. So to do that, just quickly go over to display settings. And you will scroll down and find this activity post effects checkbox. So just enable this. And you can also enable tone mapping from over here. Open up this menu and only change the function. So change the function from linear to log. You will notice that everything gets a little bit darker, but don't worry, we will just fix everything. And next, enable this activate color profile. Again. This time we've got a lot darker now, the only thing that we have to do is just click on this profile slot and select the second option, that is ACS UFO log. As soon as you do that, you will see that I'm, colors have improved so much now. And the table already looks much, much better because of the improved colors. If you just quickly want to see how our colors looked earlier, you can disable the post effects and also the color profile. And you will see this is how it looked. When you enable it. These two checkboxes, you will see feathers have improved a lot now and they are accurate to what they will look like when we export them to Unreal Engine. So it is not that big of a change and it will not affect your texturing in any way. If you don't want to do it, it is not that necessary. Definitely you can texture like great things without doing this, but yeah, it is just better to look at. And yet this is the first thing that I want to change. Next thing that I want to discuss this before we actually start like adding more layers towards smart material. That is things like damage, dust, edge damages. I want to discuss a little bit about masking. So if you have worked with Photoshop before, you are definitely aware of what masking is, is pretty much the same as in Photoshop. Also, a mask is basically a black and white image that decides where a layer should appear and where it should not. So let's say I add another fill layer on top of this. So I will click on this filter icon. You will see as soon as I do that the white layer completely fills our model. We can change the color from over here to anything that we like. Let's say we said this today. So I mentioned earlier that we can reduce the opacity to make the layers at the bottom more visible. But let's say we don't want to do that. We want this red colored light layer to appear in a certain pattern or in certain places. Only. Then what we can do, we cannot just decrease the opacity and call it a day because this does not achieve anything. Let's say we want to only make it appear in the corners, or we want to operate it in a certain pattern of dust, then what we can do in these types of things, a mosque comes into play. So one thing that I want you guys to remember is in terms of masking. Black means invisible and white means visible. If you don't understand this, don't worry, but just make sure you remember this. Black means invisible. Anytime you paint on a mask with black color, it will make things invisible. And if you paint on a mask with white color, it will make things visible. Alright, so with that out of the way, what I will do now is I will add a black mask to this layer. So can you guess what will happen if I add a black mask to this red colored layer? So you can click over here to add a mask and just select add a black mask. So as soon as you do that, the whole layer has disappeared. If you remember, I mentioned in terms of masking, black means invisible. So I have added a complete black mask to this layer, which has made this layer completely invisible. Alright, so now you will notice that alongside our layer over here, we have this Black Mask icon and we can select it separately. If you select this layer, right now you have selected the folder and you can change things like color and everything. But we won't really see that because black mask is added. But you can also select this mask. And now you are painting on that mass, so you can see this brush icon. And we have currently selected the white color. So if you remember, white means visible. So I'm painting with white, but red is appearing because we're not really painting on the object. We are painting on the mask. We are painting on the mask with white color so that the layer underneath is appearing, which is this red colored layer. And you can now select this layer. You can also change the color to anything you like. So as you can see, this is like the power of masking. That's why when you select this mask. So right now you cannot really paint anything because this is the fill layer. We cannot paint on a failure, but we can paint on our mask. So you will see if you hover over this mask, this mask currently. So all the areas painted with white will make the layer visible as you can see over here. And here also. And all the areas that are in black will make the layer invisible. So let's again select the mask. And now we can paint anywhere we want this layer to appear. Now let's say I want to remove it from some of the areas. So what will I do know I can easily remove from the mask by painting with black color now. So one way to do this is just scroll down while selecting the mask. Just scroll down. And you can choose the color using this slider. So we basically have two colors, white and black and everything in between. So as I mentioned earlier, a mask is a black and white image. So therefore, we only have these two colors. So if we set this to black completely and now try painting on our object, you will see now we're removing that layer because we are painting with black and black means invisible. We have, basically this is a very simple way of using a mask. We don't really use them that much. I will just show you the many different ways that we can use masks and you will find them really useful. You can also set something in between, like paying something of this sort, like not a full opacity. If we set this to one, it will completely paint the color. But if you set it in something in-between, it will be like really light. You can do these things. So black means invisible. You can raise all of the things that you painted. And white means visible. The layer will start to appear again, wherever you paint couldn't bite. There's also a nice little shortcut in which you can switch between white and black color so that you don't have to go again and again over here. It really speeds up the workflow. So if you press X, you will see as soon as it breaks X, it will switch between the two colors. So it is really useful when you are using the brush. Like if I'm painting over here something like this. You can just quickly press X and remove the areas. Can also increase or decrease the size of the brush using control. And then holding right-click and then moving your mouse left and right, like this. These are some of the shortcuts. If you move your mouse up and down while holding control and right, you can adjust the hardness of the brush. So here these are some of the shortcuts. They're gonna raise it. You're going to get this x now and add some of the areas. A better way to do this would be to just click over here on the brushes in your shelf. And now you have a complete set of different brushes. This one is the most basic one. I don't really use this one when painting details. So let's say I use this one. That is I use this one a lot Dirt one. These dirt spots or dirt. Something like this. And as you can see, it looks much better. So it really depends on your use case, what you want to like paint, and what is the use of your layer. You can again plus x and remove some of the areas. You can definitely use a combination of different brushes with masks. And it is very powerful to create a nice looking textures. Alright, so now that you get a basic understanding of what masks are, let's try to use them in a little bit better way. I will quickly remove this layer. Let's say e.g. I want to add very simple looking dust to our model. So one of the ways would be you just add a fill layer first. Next, let's add a mask to this. So add a mask at a black mask. And again now click on this icon. So add effect. While you have selected the mask, I defect an ad filial. So now we have IDA Fill Layer Mask. So what we will do now is you can click over here on the textures section of your shelf. So now we are in the texture section. Let's search for some nice-looking texture or you can just search through this manually. As you can see, we have something like this, black and white spots. So you can see all of these are different types of masks because all of these are black and vitamins. We can use them in our field there. So make sure to select this layer and drag and drop anything. Let's say I use this Clouds, drag and drop it on the gray scale, plot like this. And as soon as you do that, you will notice that now our white layer is appearing using this cloud mask layer. Let's just change the color from white to something like blue. For that, it is not that confusing. Yeah. Alright, so now this is like a different type of mask. We don't really paint on this. We can select the mask and select this cloud three layer. So we have added a fill layer and we can control things like the balance. You will see. We can control the mask like this. And this is really useful to create like nice-looking pictures. You can change the color of the dirt to maybe something like yellow and make it darker. I'm sure you are kind of like realizing the users of this. Let's just make a colored a little bit darker so that it is easier to view. Let's select the mask again. And you can do all sorts of things like we also have the prediction over here. You can change projection from UV to Dr Lina. Then you can change things like the tiling. So we are adjusting the mask using the fill layer. You can also visualize your mask by going over here and selecting the mask. You can see this is that mass, so this is the black and white image. You are selecting the mask and you can easily visualize it here. So wherever the white areas are present, you will notice that the color is appearing over there. Wherever there are white areas and over the black areas, it is invisible. Our basic concept of Black is invisible, invited visible. Alright, so if you understand this much like using, so this is one of the ways like using the mosque with a failure. You can now cross it out so you can remove this filter like this. And let's say we use something else. Like maybe use this black and white spots, one, drag and drop it again. Now you will notice we have a different kind of effect because we have used a different kind of failure. I'm sure you're understanding that we have to use different filters depending on different use case scenarios. So if you go through them, you will find lots of different types of textures and guns map present that you can use your for your maps. You can see this fingerprints one, we have this paint one. We have these stains spots. So these are all different types of masks that we can use. And these are really useful. We can see all of them give different types of loops. So you definitely have a lot to experiment with. And you can create like various different looking textures with this. You can obviously change the color, do anything like that. Alright, so now I will teach you another advanced technique when we combine it with this film layer thing. Let's say you have added a mask. Let's try to adjust this a little bit. You can add like any field layer of your choice. Let's say maybe I search for grunge and I will drag and drop maybe this one, grunge maps 004. So drag and drop it over here. And let's say you want to remove some of the ideas. You have noticed that we can control the leg balance and things like contrast, but we cannot remove a specific part of this mask. Let's say I want to remove this thing from over here. So how we can do that, you can again select the mask, click on this add Effect menu. And this time, instead of adding a fill layer, I will add a paint layer. So nothing really happened. Let's cross this out, select our brushes menu, and let's select any kind of brush. Let's select this one. No, maybe some caveats. Let's select this one only. Now we're back to our basics. Now you add like painting on the mask again, because now you have added a paint layer. So this fill layer is our main layer that is controlling the mass. But now we have added another paint layer on top of this. And if I paint with white color, you will see again, if I'm painting with white, the blue color underneath is now becoming visible. If I undo this and press X to switch back to black color, I can remove this area because I'm painting with black. So you can see this is like really, really useful and you should understand this properly before it's like added a grunge map to create the base of our mask. And we created this effect. But we want to remove certain areas or we want to add to some of the areas to this mosque only. We added another paint layer. And then we can use the brushes to add some custom details. So if you press X, you can paint over here whatever you want. You can change the brush even. Again. You can press X and remove some of the areas from this mosque or leak. These changes are completely being done to the paint layer only. So if we remove the paint here or let's say we just disabled it using this icon. We have our mask back, we have the default mask that was earlier and enable about the brain. Here. We have all the changes that we did is a little bit like maybe it is a little bit overwhelming or complex to understand at first. But this is like a really nice and interesting concept to grasp. And it will really help you like creating a very nice-looking pictures. You will understand when we will get back to creating our good smart material. Again, don't worry if you don't understand this properly. We will be doing this a lot in our course. So eventually you will understand everything of this. So you don't have to worry about it. Let's just quickly cross this out. And I will show you another way we can use masks. And that is using smart materials, are sorting using smart mask. So we begged mesh maps. So one of the reasons is the smart mass also, smart mass are kind of similar to smart materials only they are predefined mosques created for you by Substance Painter so that you can easily speed up your process. So let's say I drag and drop this dust occlusion onto our mask like this. And you will see as soon as I do that dust has been added to my model in all the corners and crevices of the model. The color is set to glue that so it is looking good. So let's say if I set this to black, you can see how much detail it adds. If you remove this. You will notice that the dust is only being added to all the gardeners. So that's why it is looking like really authentic. So this is like a smart mask because it is already predefined for your use so that you can quickly create great looking textures. Let's add another fill layer. And this time we can again add a black mask, LSU the edges, edges, smart mask. So we have this edgy scratched edges, strong scratched. Let's use a restaurant. And you will see it has completely masked out the edges of our model. You can select the mask editor again. And you can do things like adjusting the global balance that will control the mask. Again, smart mask is a really powerful feature that, that is another way to use mass. We have learned like do three different ways. There is one more that I will just quickly go over. You can remove this mask and you can try something else. So yeah, there is a lot to experiment with. Obviously adjust the mask Editor to control the effect of the mosque. Alright, so yeah, this is the way that we can use smart masks. They are like really powerful. Let's just remove this layer and this one also the dust layer. We will obviously add this later on when we are actually creating the wound material. Alright, so the last and the final way to use the mask is you just add it. And let's say, I want to make this object white colored. Only this object only overhead this design and not the other parts of the table. So this also can be done with the help of mask. If I add a mask like this, we can obviously go to brush and select any brush. Let's say this one basic heart. We can paint over this area, slow this building wherever we want the mask to appear. But this is like really tedious. And it is also not really good because as you can see, the paint is appearing over here also at the back. And this is like not really efficient. And it will take us a lot of time to put this thing into complete white color. But there is a short little way we can select this tool from over here. So the polygon tool, as soon as you do that, this is like a free tool. If you remember, when we were kids, we used to use the paint. So we had the fill bucket tool in the brain. So this is a similar to a fill bucket tool. If you select the mask. And this tool has like four different moods. But let's just go over this one first. So this is the Nashville board. As soon as you select this. And currently you will notice the color is set to white. You can change it with x. So currently it is set to white and as soon as you select this thing. So this is like complete mesh. And I will select this. You will see it completely fills it with white color. Now, the mask has been filled with white color over this mesh completely using this fill tool. Now you can change the color of this to anything you like. Now let's say I again select this. And now I want the mask or the color to appear, or these objects also. So again, I will make sure that Valerie set to white and select the mesh fill mode, and then select these objects very easily. And you can see like the paint bucket tool, we're filling the color. So basically what we are doing is we are filling these objects with white color. And as we're painting on a mask. So whenever we like fill this mask with white color, this layer starts to appear over here. If I set this back to black again, and then click on this object, you will see now the color is disappearing. This is basically the paint bucket tool or the fill tool for masks. Alright? So if you understand that much now, let's say if I said this to wine, you see we can select parts of the table and they are being filled with color. Now you can press X to switch back to black, and again, select all of these and the color would be removed. Alright, now let's go over the other modes of this tool. So let's say I only wanted the color to appear over this phase, only, only over this series. I wanted this mosque or this color who appeared over here. So definitely we cannot really use the mesh field because if I select the Nashville and fill it like this, first press X to switch back to white color and fill it like this. You will see the whole mesh is being filled. So for this, we have the polygon thing. Mesh will change back to polygons. Let's undo this. And now if you click over this phase, you will see only a single phase is being filled at a time. This is like the basic difference between all these votes. So the first one is basically triangle filled. What it does is it divides the face into two halves. So if this is a face, will divide it into two parts like this into triangles. If you press X and remove it, you will see it removes and basically two triangles. And it is not that useful. I never use this only two modes or uses the polygon field and imagery. So polygon fill is for certain phases. If you press X again for white color, you can see it is for certain phases. And the mesh will is for complete meshes, like complete 3D objects. If you press X and now you select the polygon fill, you can see, you can remove the color from certain phases only because we have selected the black color and black is invisible for mask, and we have selected the polygon field. We are removing one at a time from just one single phase only. Now let's select the mesh and remove it from all of these areas because we do not really want to make a selection this way. Alright, so the last one is the UV chunk free. And again, I never really use this, but if you press F1 to bring up your UV islands. So this one basically fields according to the UV islands. So as you can see, this is a UV island over here. If you click over here, x first for white color and click over here. And you can see this is one single UV island, so it is very unpredictable because we don't really know what will get filled as what is connected to each other in the UV island. And you can see, when I select all of these islands, different places are being filled according to the UV chunks. Like whenever you select anything, it will get filled according to the UV island. So again, I'd never really use this. The only two features I use are the only two modes that I use, a polygon and mesh when you're going to press F2 to come back to the 3D view. Now again, let's see if we want to remove all of this color from the area. Try to do it on your own. First, you will press X to switch back to black color. Select the mesh way and just remove it from all of these areas very easily. So yeah, I hope I was clear with explaining all the different things about mass. If you don't understand it completely, it's totally okay. Give it some time. Experiment with this a little bit. Try to add different layers. Tried adding dust by using all these different smart mask, then adjusting them. Try like using this tool that I just taught you. You can also try using the fill layer method. It is like smart mass method. We can also use filters. There are multiple different ways to use masks and there is a lot of things that you can experiment with. They are definitely try to grasp this concept completely because this is very, very important in terms of substance painter, as it will help you a lot in creating realistic textures. But yeah, if you don't really get it, it's okay because we will be doing this a lot in our course while creating different materials. So yeah, you will totally understand this when we are done with the course or when we are done with the texturing of all the things. Alright, so this is it for this lecture. This was pretty long one. But yeah, in the next one we will start again with the texturing of AdWords, Smart materials. And yeah, thank you guys for watching. I'll see you the next one. 19. Finishing Table Texturing: Hello and welcome everyone. So in this lecture, Let's continue making our word smart material. So in the last lecture, I mentioned that I will be adding a couple of dust layers now. So let's do that. So the first thing that we need to do is we need to add a fill layer for the dust. But one thing that I want to mention before doing that is whenever you add a new fill layer. So let's say if you have selected this layer and then you add a failure, the New Fill Layer will get added to the top of the selected layer. So just make sure to remember that. Alright, so now this layer has been added. Let's first rename this. So double-click over here and rename this to dust. And next thing that we can do is we can make it a darker color. To just bring this down over here. I think this is pretty good. We can also change the roughness of this layer. Basically, what rough this will do is if you increase it and set it to one, then no light will be reflected off it. And if you set this to zero than it is like completely reflective and very shiny. So we can set it to maybe 0.4. Alright, so the next step that we have to do is we need to add a black mass to this. So click over here and add a black mask. Alright, so now the layer disappears. In the last lecture we mentioned like many different ways through which we can paint for mask if you want to add us. We can definitely like even manually paint like this. But that looks like really unrealistic. And it is not a nice approach of doing things in my opinion. And the next one is we can definitely go over here in the smart math section of our shelf and definitely use one of these smartwatch so you can just drag and drop them all here. There are a lot of different smart masks that are related to dirt and dust. Like this one maybe or you also have something like this. So yeah, there are a lot of different ones. You want to select any of the smart mass, you can definitely do that. But what I will be doing is I will be using a fill layer, a specific failure that will give it a really nice look. So select this mask, go over here and select Add Field. Now we need to add a fill layer to the mask. Let's head over to the texture section of the shelf and searched for directional noise. So if you hover over these textures, you can preview them. So we have these two directional noise, 1.2. These are like very streaky textures and they give like a rainy, nice, good look. So I would like to add them. Just select the directional law is one texture and drag and drop it over here on the gray scale slot. And as soon as you do that, you can see our dust is appearing in this shriek like from you can go over here and visualize your mask. But there is one problem that we discussed earlier. The texture looks like really disconnected because of this UV prediction thing. So let's just quickly change this to pry planar from UV. And as soon as you do that, you can see now the texture looks really, really good as it flows through like a single texture only. And yet now you can press M to view back the material. This material gives a really nice would feel. One little trick that I will also show you is if you go back to your main layer, so that is the failure. And you try to adjust the height information of your layer. Let's say if you decrease it a little bit, just a very little amount. So that is visible. Maybe a little more. As you can see for degrees it they are like literally dense being created on our wood. You can definitely use that also. I don't really finding that good in this one, like in this scenario. It looks kind of weird, but yeah, we can definitely use this in future. Let's reset back to zero right now and click over the mask. Then the failure to maybe adjusted a little bit more. So there are a couple of things that you can do. You can adjust the tiling. You can decrease the tiling or increase it. If you decrease the tiling than the scale of the texture will increase. If you increase the tiling, sorry. If you increase the tiling than the scale of texture will decrease. And it will make the texture like quite repetitive, as you can see. Maybe set it to somewhere around two or 2.4, something like that. Again, all of these values are like totally up to personal preference only. So you can just set them anywhere you like. Maybe something like that is nice. Next is the balance and the contrast. And these ones are like pretty self-explanatory. If you'd like, turn these sliders once you will understand what they do for the balance basically controls the complete effect of the mask. So if you set this to zero, you can see now the mask like completely disappears, like the dust layer completely disappears. And if you set this to one, now it is completely black. So you have, we need to set something in between. Maybe somewhere around 0.6, maybe. Now you will notice that the table looks like really dirty. But don't worry, we will just fix this in a moment. The next is contrast. So basically what this will do is if you increase it to one, now your effect will be like really sharp and have strong edges. I don't think we want that because we want our dust to look like smudgy and blurry. So we can set this to maybe 0.2. Alright, so now the desk looks like this. If you want to go for a dirty look for the table, you can definitely do that. But what I will do is I will just click over here and decrease the opacity. So you see we can just decrease the opacity to maybe something like 16, my opinion, would look nice. So it adds a nice bit of detail, but it is also not in the face completely. You can just turn on and off your layers like this and see how they affect your model. And then you can like work accordingly. We can also just maybe like instead of decreasing the opacity, we can also just decrease the balance. But here they are like different ways to do different things. I will just decrease the opacity right now. And yeah, this looks pretty good in my opinion. Now I will add another layer. So click on this folder icon and let's add another one. And this time I will be adding a little bit of color variation to a word. So it is nice to add different layers of roughness, variation in color variation, dust, edge damaged. Said these are like some of the basic ones that I usually add to all materials. Make them look good. Alright, so let's rename this to color variation. And what I will basically do is I will choose a color that is related to this vertical and only for this layer. And then add another like mask and choose some of the grunge textures and then create a little bit of color variation out of it. So what we can do is you can click over here, and I have already selected on a color. But what you can do is you can just disable this layer for now. You can select the sample color icon, the eyedropper tool. And you can just choose a color that you like and select it like this. And then you can adjust it from over here, make it lighter or darker according to the variation that you want. You will just understand in a bit. Let's just keep any color over here. For now. I'll just place it over here like this. Let's enable it back. Yeah, something like this. Obviously we don't want this. We will add a black mass now. So click over here, add a black mask. Again, click over here, add a fill layer. And this time let's go for directional noise to just to have some variation. Obviously, you can select any smart mask, any like Fill Layer, grunge, anything. But I will be going for this and you can see how it adds like a color variation. Definitely too much right now because the opacity is set to 100. But don't worry, we'll fix all that. Alright, so the first thing that we need to do is we first need to change the UV to Dr. Dana so that it does not look like disconnected. Yeah, that's pretty nice. We can go over here, select mask to visualize it. Maybe I will increase the tiling to this also. Come back to the material. And let's see. You can see already, I think it looks really nice. It hides a little bit of dust in random places that makes it look a little bit more authentic. Definetly, I will just click over here and decrease the opacity to maybe something like 50. Let's say. Let's increase the contrast because right now I think it's too less. So maybe somewhere around 0.3. Let's see. I always like to turn my layers on and off to see how they affect My Immortal. And yeah, I think I'm pretty happy with this one. Alright, so next maybe, let's say, let's try to change the color. So click over here. And I've already selected on the values. So for the H 0.048, saturation can be 0.6. And four, the value is 0.5. Yeah, I think even this looks pretty good. So you can definitely likes choose any color you want. But I will just undo it and maybe I will go for the older color only. Because in my opinion, I think it looks better. This one, if you want to copy the values, you can see over here. That's pretty good. Let's move on. And now we will be adding a bit of edge damage to our table. Again, add another fill layer. This time, instead of using any kind of like textures or failure, let's use a smart mass. So we have a little bit of variety. Look over here, select Smart mass, and there are lots of different edge smart mass. As you can see, edge damage, edge TO digraphs, edge rust. So you can definitely take select any one of these in just drag-and-drop and see how they look. You didn't see they like selectively mask out your edges. And we have something like this. You can change the color to maybe something golden, yellowish. Because that would be the color of the shift of woods. You will definitely set it to like a proper color. Right now it looks like very absorbed in wierd. Alright, I will first select the mask. Let's just remove this one. The one that I will be using is this one. It is scratched. I think this mask is pretty nice. Obviously this is a little bit too much. Don't worry, we'll just adjust all of it. Alright? So you can select this. So there are two things, agate. One of them is mosque. This is like the Mask icon, and this one is a freedom. We will discuss what are filters in just a little bit. So first let's select the mask and adjust its values a little bit. So first we have the veer 11. So if we decrease it to zero, it is basically same as balanced only. And it will set to one, like there is complete damage. So it is currently set to 0.79, but I think somewhere around 0.6 would be nice. Yeah, 0.6 is fine and we can increase the contrast a little bit. 0.1 maybe. Also set the color properly. First, select the color. Click over here. And the color that I've drawn four is the H. You can write 0.125. Saturation is 0.42 and the value is 0.717. Yeah, that's a nice color. And then we will just decrease the opacity To a lot to make this a very faint effect, we definitely don't want it like this vibrant. And it is like really interfaces right now. Just click over this opacity and set this to 30. And yet, this way it looks like really good. And it looks as if the word has been damaged a little bit from the edges. And you can just turn it on and off and see how it affects your model. And I think it adds a nice bit of detail. Let's select it again. Click over here Michaela edge view. And let's try to adjust some other commands also. Alright, so another thing we have over here is the grunt Jamal. Let me just explain it what it is. Grungy is basically the dirt. So we have these edges over here, but we also have a little bit of dirt added to a table, as you can see over here. If you increase the grungy amount, the amount of this dirt increases. And if we decrease it, it disappears. And the grand scale is basically increase the amount to one and then adjust the scale. You will see if you keep on increasing the scale, the tiling of the dirt like increases. This way. It looks like really, really weird. I just suggest you guys to keep the tiling always to a low number because if you keep on increasing, the repetitiveness increases and that does not look nice. I think the grungy amount to 0.21 is pretty good. And we can definitely work with this. Next one I will do is I will just degrees the curvature. Wait a little bit. So it is like related to your mesh Maps and it will turn down the whole effect a little bit. So maybe let's just set it to 0.7. And yeah, I think this looks really good. You can turn it on and off and see. Yeah. I will just rename this to H damage again. Next we have the sharpen filter over here. So sharpen is like pretty self-explanatory filter. A filter will enhance your mask on your layer in a way, they're like lots of different filters. I'll just show you a couple of them. So sharpen is a pretty simple one. If you like, increase the sharpening density, you will see the edges of this mosque or not like really sharp. And yeah, basically this is the sharpen filter. So right now it is only affecting this mask only because it has been added to the mask. You can add a filter to anything like you can select this and then add a filter to this. You can select this layer also click over here and then add a filter. But there won't be really any effect because this is just a simple color only. We are. Let's just select this mask and I will try show you something else. Let's select this mask and click over here and add another filter. And let's show you some other filters. So we have, you also have this blur filter. So you select this blur filter and you would see as soon as you add that, now your mask is basically blurred. So basically these are filters. They will be like a lot of different ones. Let's just go over a couple of them. We also have this walk filter at the bottom, which gives this kind of effect to your layer. As you can see, if you increase the intensity. Let's select maybe this layer would American cherry. And I will show you another effect. I will just quickly turn everything off. And let's select this and add a filter. So go over here, add a filter, click over here and let's say I selected HSL perceptive. So I just had perceptive can change the hue, saturation, things like that, and the lightness of the layer. You can adjust these things. It is like really helpful when you have added a texture image and you want to tone down the saturation a little bit or increase it. That is a really useful filter. We also have other ones. A lot of them are self-explanatory. You like, add them and see how they work. So this is like blood in a directional form. We also have blurred slope. Like lots of them will give different effects. This one is looking like as if it has been painted with height. Let's see some air. We also have like different matte finishes. These are like useful when you are creating. Let me just turn off everything. And let's say they will do is I will just enable back everything. And instead of turning everything, we can just quickly turn off the complete folder. Let's add another failure. So just click on this folder so that the failure gets added outside. Click on Add fill layer this time I will make this layer metallic. As you can see now, it is a metal. Let's also adjust the roughness a little bit and we have different filters for this. Also, if you click over here, add a filter and we have different matte finishes. So let's say we have this one. This will give this, this looks so you can create like different metal patterns. This one is like brush linear. Then we have this thing matte finished, galvanized. I kind of went off in a tangent, but I just wanted to show you like different filters and they are really useful. Let's turn back the wooed. Now. Let's remove this empty filter and we will go over the Sharpen. Sharpen is pretty basic. Just increase or decrease it to increase the sharpness of the effect or the and at 0.4, I think it is pretty good and are damaged layer looks really nice in my opinion. You can just turn off everything and enabled at them one-by-one and see how we have developed our material. Each layer adds a little bit of value and realistic next to the layer. Alright, so again, let's move further. We can add a couple more stuff like scratches, some scratches to this table to add a little bit of more value. Even if we stop at this point, I would material looks pretty good. But yeah, I will just add a couple more stuff to make it even better. Alright, So again, add another fill layer. We named these two strategies. Click over here and let's first set the color. I think the color We pretty similar to the last one, only yellowish color to 0.12, 50.34, and then 0.55, something like that again. And let's add a black mask. This time I'm using a failure because we don't really have any kind of smart mask for scratches like which is that good? We might have a couple of them. Click over this ad effect I'd fill. And let's come back to the textures. And if you just simply search for its branches, you will find this. We have like different scratches. Japan, so grunge scratch dirty. I will use this one. Grunts scratches rough. Just drag and drop it. Over here. Right away you can see the scratches appear. We have a lot of different customization options over here that we can adjust. First I will do is to make the texture look proper. Set this to try plaintiff. And yet this way it looks much better. All right. So now what I want to do is if you just come down over here, we have this scratch styling. We can also just a tiling from over here also, but let's just do it from this option because it has been provided to us in Greece a scratch styling because they want to make the scratches pretty small. Starting at six is pretty good. I will also increase the tiling alleviate from over here so that they're even smaller because they are not that small right now. Yeah, that's pretty good. Next, let's just decrease the opacity to something like 30 maybe. Because obviously we don't want our scratches to look like this because right now it is looking like really bold. But let's just set the opacity to 30. And this way it looks really nice. It adds a faint bit of effect. And you can just write now set this to 100 only maybe because we can view all these options. So they are like a lot of them. You can adjust the balance, which is the overall effect. Then we have contrast obviously. Like increase the sharpness, it will reduce the effect a little bit. One option that I particularly like is scratched masking. If you just increase it, it will just remove scratches from areas randomly. So it adds a nice bit of randomness. We can definitely increase it to one. And the rest of the options you can just increase and decrease and see how they affect your texture. Like we have this scratched spot incident intensity because we also have these spots like youth sports. If you just decrease it, we will see only the spots are getting affected. We can definitely degrees this one. We also have scratches length. They are like a lot of things. You have the word yeah, basically that's it. You can just experiment with all these options. They are pretty self-explanatory. I will set this back to 30 now. I think the scratches add a nice bit of effect. All right, before we proceed further, let's just quickly hit Control S to save our files. We can just add a little bit of more damage and some roughness variation and then I think we would be done with that woulds smart material. The reason I'm spending so much time on this material is because we will be using. This one a lot. We will be using this material over and over again because our whole environment basically uses the word material. So that's why I'm trying to make it look as good as possible. Alright, so now let's add some more damage to add good material. Obviously, if you are happy with this kind of look, you can definitely stop over here because the material looks fine. But yeah, I will be adding one more layer. So let's click on Add fill layer, and let's choose the color first to click over here, I've already decided on a color. For the h value you can put in 0.1, saturation is 0.25 and values 0.4. Alright? This kind of color, Let's rename this to damage. Now I will add a black mass to this. And basically we will be directly using a smart mask. So you can just remove this search first and click on the smart Mask icon over here in the shelf. And the one that I will be going for is this one dirty, dusty. You can definitely try out a couple of other smart mask to see how they look. Maybe like something like this. Definitely not this one. There are a couple of good ones. You can definitely go for them if we wanted to. But as I said, I will be choosing this one dirt dusty listed over here. And this is the kind of effected gifts. You can click over the mask editor and adjust it if you want to. Like things like Louisville balance contrast. We also have this blood option over here. And they are like a lot of different settings which you can tinker through and get the customized look. But I think the default, Lucas pretty good. The only thing that we want to do is we want to reduce the opacity because this is too much right now. And I will just quickly turn down the opacity to something like 30 maybe. This way it is not really that much visible. Still adds value to our material and immaterial looks pretty good with this tradition. The last thing that we need to do is now we only need to add a roughness variation there and then we will be done with this material. So quickly add a new field. And basically we have these different channels for color, mental illness, roughness, normal height. So this time we will be only using the roughness channel, so we can just disable the rest of them. You can see, you can just click over the channels to disable them. Or you can just hold Alt and click on the channel that you want. So we want the roughness channel only and click on it. The rest of them will be disabled automatically. So now we have this fill layer at the top and you can basically control the whole roughness of the table you can see. But we don't want that. We just want to add a little bit of variation. So in a similar way only first, let's rename this to reflect radiation. Now basically we can just add a black mask and we can add a fill layer. Go to the texture section, let's search for grunge. And we have these different grunge maps. And you can choose from one of them. Let's see. I quite like this one. So we can try this one. Grunge maps 007, just drag and drop it onto the gray scale. And right away you won't notice any changes. Like the changes are done, but it is not that easy to notice them. So yeah, you can just place your model this way. And when you click over here and adjust the roughness, you will see how we have added like roughness variation. Some parts are like shiny, some parts are not reflecting that much light. So this layer is just added to give more realistic next to the material, you can adjust things like the roughness. Also, if you come back to the mask, you can adjust the overall balance and you can see how it affects your roughness Venetian layer. We can definitely go for something like this. Reduce the contrast a little bit, adjust the timing. Maybe. You can set this to try brainer. Yeah, then decrease the tiling. I think somewhere around here is pretty good in my opinion. You can just turn on and off the roughness layer and see how it affects some audit. I'm just trying to find the perfect balance between the two. Yeah, I think that's pretty good. You can enable the mask from over here and see this way how it looks. Let's just increase the timing a little bit more. Rest M again to read the material. Now we can come back over here to the roughness and change the value of roughness so that it is like not that much visible. But yeah, just a little bit effect. So we can put it somewhere around point for writing 0.4 is a nice value. You have. Yeah, that looks pretty good in my opinion. Definitely. You can experiment with this a little bit more and see the results. But I'm quite happy with that material. So I will just quickly hit Save. And yeah, this is it for this video. In the next video, what we'll be doing is we will add this material to the chair also, and we will create a smart material out of it so that we can reuse it over and over again in our course. Canvas watching. I'll see you in the next one. You're also enabled back the roughness from over here. Yeah. Thank you. I'll see you the next one. 20. Texturing the Chair: Hello and welcome guys. So now let's continue to extreme art table and chair. So the first thing that we will be doing is first I will select this writing table texture set from over here. And we will convert this course material that we have created over the past few videos into a smart material so that we can reuse it over and other objects and also over other projects that we will be using later on for other props. So you could do that. Just select this complete folder, so make sure you have a folder first. Also remove this empty freedom. Yeah, I will just close this folder. Selected right-click. And you will find this create smart material option. Just simply select this. And as soon as you do that, it will pop up in your shelf over here, as you can see. Now, this would cause material is over here and we can just drag and drop it and reuse it over and over again. So now let's come back to the chair texture set. And I will just drag and drop this good course material like this and wait for it to upload. And yet you can see automatically it is added to a chair. All right, so now I will show you another use for masks that we learned. So obviously we don't want this wood material over the seat over here. What we can do is first let's select this empty layer and delete this. And yet we don't want this over here is Woodmont ear. So now there are two ways to do this. I will show you the difficult way first and then I will show you the easiest way. So the difficult way is to just select this complete folder. And we can add a mask to the complete folder also. So just basically select this whole folder, go over here and add a black mask. So as soon as you do that, the whole body, it has now disappeared. And if you remember in a couple of videos, bathroom discussed about this tool, the polygon. You can quickly select this tool. So make sure the color is set to completely white. And we can select this option from over here, the mesh, because we want to select the entire meshes. If you select this one, you can select each and every face at a time. But that would take a really long time. So yeah, we can just select this option from over here, Nashville and deselect them one-by-one wherever we want the material to appear, Act. And we can just leave the seat out. And you can see we have easily added a good material to all the areas where we wanted. And we have left this out and we can add now another fill layer. And then use like maybe a red color. Then again, add a black mask. And this time, make sure that you have selected this tool. Select the mesh will, and now just select this. This way you can separate out materials on two different objects as you can see how easy it was. Yeah, but obviously we won't be using this material. So select this layer and delete it. Alright, so this is one of the ways where you can like separate outer layer from different objects. But there is an even better way to do this. It was like recently introduced. And it is basically a mask only but a different type of mask that is called a geometry mass. And it is way easier to use. So let's just select this folder and delete this. It works in a similar way to work a normal mass fully, but it is easier to use. You just drag and drop this again. And now again, the material is appearing over all the objects. If you see this box over here. So basically if you select this box, you will see nothing really happens, but we can select and deselect where we want the material to appear at, and then we do not want it to appear, as you can see from disabled them. Now the material is like disappearing from wherever you have clicked. So basically by default everything is selected. So let's say we don't want the material to appear over here. You select this object, and now it is these electric from this one. Geometry mask is really easy to use. You can see this nine is appearing over here. That means this layer is being used by nine different objects. You can de-select them one by one. Now it is 876. Very simple. You can just hit right-click and you can also select Exclude on. So this way none of them are selected. And you can also right-click and included. So now everything is selected. You can just right-click include all and just de-select this part from over here. And yet, this is really easy. Obviously you can use the earlier method also by adding a black mask and then using this polygon. But yeah, this is also a very easy way to do that, like using the geometric mask. You can add another fill layer again During the color to something like this. Then you can select the geometry mask, hit right-click, and hit Exclude on, so that nothing is selected. And now you can selectively select the objects where you want this blue layer to appear. So yeah, really simple. One thing that I wanted to discuss this first, let's do this. Alright? So the Demetri mass can only be used at places when we have like separate objects. But let's say I add a layer and I only want this layer to appear over this circle, not over the whole object, but this server only. So now this time I cannot really use the Demetri mask because. Select the whole object only. If you want to link only selecting this certain portion, this circuit. Now what we have to do is first hit right-click included. And now the only way would be to just simply add a black mask. Select this tool. And instead of using the mesh, will use the polygon field. And we can easily say this single motion or any other abortion. As a matter of fact, just selectively, you don't have to select the whole object. We can just select a certain portions to take share from. So yeah, it is really useful this way. But if you have to select like complete objects, like all objects, then you can go for directory mask as it is really fast. This is the basic difference. Let's just delete this layer. For now. Let's keep the chair this way only and come back to the table. Let's select the writing table. Now what I want to do is if you see this thing over here, this design that we have created at the front of the table. I don't want this to be a wood material normally I want to change the material for this, but this thing, and for all these small pieces, just to add a little bit variation, what I will be using is I will be using a gold material for all of these pieces over here to make them look even better. So instead of creating a goal material, we can definitely do that too. Then just add a fill layer, give this a yellowish golden color. Set the metallic to one, decrease the roughness. And here you can see we have something like this. Instead of that, I will just selling the smart materials from over here and search for this goal damaged smart material. I think this one is really, really good. You can just drag and drop it and you can see we can definitely use this smart materials. But before using this text, just undo it. First. What I want to do is I want to be select the wood material from over here. So now I hope it is very easy for you to do is select the geometry mask and click over here to deselect and just complete select all these pieces. Also de-select the wood material from all of them so that we have something like this. You can drag and drop the goal damage material like this. Again. This time select the geometry mask and we can just right-click and hit Exclude all. And basically select this piece and these pieces. And you can see it complements our table really well. And it looked nice. Yeah, I think it is a nice addition. You can open up the goal damage folder and you can maybe adjust the color a little bit if you want. I do want to make it a little bit darker. This was the original. I will just make it a little bit darker and a little less saturated. That's better, I think. Oh wait, I think this looks pretty good. You can district save. And we can now again move over to the chair. So far the seat, I am thinking we can use some of the fabric materials that we have finished. Remove this filter first and search for fabric. We have the radius like nice fabric materials that you can just drag and drop. And again, see for yourselves. Maybe I haven't used this one. Just drag and drop it this way. First again, let's use the geometric mask. Let's click over here, right-click exclude all. And yesterday, we have something like this. I will just open up this folder and let's try to remove these Checkout button. So we can just turn on and off the layers and see which there is responsible for these Jacob buttons. So I think it is this one disabled both of them. And this is where I think it looks much better. But we can do is we can just find out what is causing all these whitish grains. And I will just tone it down a little bit. This layer, I will just select this and set this to maybe 40, set the opacity to 40. 40. Yeah. I think with this, we are pretty much done with the texturing of our table and chair. We can just quickly hit Save on a substance painter files. And yeah, we can start texturing some other things in the next video. Also, if you want to adjust the texture of the wood, all the cheer, You can definitely do that. Like if you are feeling like some of the layers like maybe the not a damaged but the edges. I think it is too much. You can just select it, go to the metal edge view. And maybe we can just decrease the view level a little bit. Maybe like little 0.55. Just to tone down the effect a little bit. This way it looks much better. I'm pretty happy with how my table and chair after now, we can just definitely now it's saved and we can finish with this video. And thanks for watching. I will see you in the next one. 21. Texturing the Shelf and Tables: Hello and welcome guys. So now we're back in Blender. We can again start UV unwrapping some of the props, then export them to Substance Painter and texture them. So it will be the same process over again for a couple of more times. And yeah, if you also remember, we like move this chair back for the sake of exporting the Substance Painter. So let's just move it back forward now. I will quickly first enable the rest of the stuff just to see how a room looks. We can just select the empty and bring it back over here. I think till here is pretty good. Also, if you remember, we have these two chairs over here, so you can press Alt plus H to bring them back. And now what I will basically do is I will just delete these two and again, duplicate this year. The reason being because these two chairs haven't even been UV unwrapped. And the second thing is they don't even have the chair material that we have added to this chair. So de-select everything and make sure only these two are selected. And then just press Delete to delete them. Now we can select this redshift plus g if you remember the shortcut to select group. All of this also select the empty. Then you can press Shift D to duplicate. And I will just place it over here like this. G, the environment we do over here. I will also enable my screen casts keys. Yeah, buddy, you select the empty now and we can just move the chair using the MTU. This on the z by -90 degrees. Yeah, something like this. And let's place it backwards. Old position only. Somewhere around here. This scale it down a little bit. And again, redshift plus G, Select Children and select the empty also, then redshift plus D. Duplicate this and place it over here. I will also rotate the chair a little bit. Now it is fine because these tiers also have the material and they have also been UV unwrapped properly. So when we add the material to them or they won't cause any problems. Alright, so let's move further now, make sure to hit Save. Now we can maybe texture these tables. Because now that extreme process will be like really smooth because we have already created the word smart material. And what material will be used heavily in this environment. Now we can proceed quickly because we've already created the most difficult part in our text string. So let's just disable everything now. Enable the tables, all these three. And along with this, I will also add the smallest shelf so that we can take all of this stuff. Alright, so the first thing to do is obviously, you need to first apply all the modifiers for just press a to select everything and just make sure you are in this Chinese room. Applied filed only and not the other one. Alright, so while everything is selected, just press F3 and there's through mesh it enter. And yet, the next step is to just add a material to all of them. So why all of it is selected? Just press knew. Obviously the material won't be added to all of them. It will be just added to this active selection. Let's rename this to be the payables and shelf. Now while this is the active collection, makes sure everything is selected. Then press control plus L to link the data and just link materials. And you can see now 24 is written over here. That means the material has been added to all different objects. Alright, so the next thing is to UV unwrap. So let's go over to the UV Editing tab. Firstly, staff to come out of the edit mode, press a to select everything, then press Control a and make sure to apply the scale. Alright. Now we can press Tab, press a to select everything. Then we can just hit you. And smart human project this again, it Okay. I think this is fine. Make sure to increase the island margin a little bit. I think we are fine with this kind of unwrap. Go back to the Layout tab and before exporting them to a substance painter. Let's quickly check for the face orientation. So go over here, enable face orientation. And yeah, everything is pretty good. If you remember, if you just see anything of this color, this dark red color, you can just select that object, press Tab, press a to select everything. Then you can press Shift plus n to fix the normals. Again, one more issue with this is this disabled face orientation. If you see these kind of shading issues in your edges, it might appear. So there is a really easy way to fix this. Just select that particular object. It might happen with a couple of your objects. Don't worry, you can just go to modify and select weighted normal that will basically fixed your issues. Make sure to apply that particular modifier after you have done adding it. Yeah. Alright, so now we can export them to substance. Painter made sure to just select the shelf and just move it back over here for the same reasons only because we will be making the mesh maps. And I don't want them to interfere with each other. So press a to select everything. Go over here to File, export it FBX. And let's come back to the exports folder. And I will name is Michelle. And David. Make sure to enable mesh from over here and selected objects. Let's hit Export and also open up substance sphincter. New Project. And click over here, select and select the shelf and table file. Let's say everything is fine, just sued. Okay, now, so press F1 or F2 to completely new the 3D view and just quickly check if there is any kind of problem with the export. I don't think there would be any. We can now just go over to the texture sets settings and hit vague mesh maps. If you remember, we will do the same settings now, change the output size two for k. Enable these two things. Disable ID and just said the anti-aliasing to four-by-four. So everything is good to go now, just hit bake selected textures and wait for him to finish. Alright guys, so the bank is done now it okay. And again, quickly check for any kind of potential big shoes. I think everything is pretty good. So we can move further. Also, I will quickly go to the display settings and enable temporal anti-aliasing. And also let's quickly fix the colors. They are not really any colors right now, but yeah, you get the point. Enabled. Post effects enabled tone mapping. Change the function from linear to Log enabled color profile and select the profile as this one. Ace is useful. And yet. Alright, so texturing this would be fairly straightforward. We can go over to the smart materials and search for it good. And this is like the power of smart materials. You can easily like create a smart material and reuse it over and over again. So we have this word underscore course materials. So just drag and drop it onto your object. Right away. I think it looks pretty good. We can now come over to the layers, tap, delete this default layer. And again, I will use the geometric mask. Just click over here. And I will quickly de-select a couple of items like these things. On these objects, I will be adding the bowl, but didn't only just to add a bit of variation. I will also be selected these parts. And these ones at the bottom. Yep. Now what we can do is we can search for the gold damaged and just drag and drop it over here. Alright. Now we can again click on here, right-click and exclude everything. And just select these parts only where we de-selected the wood material. You can press F to focus on the complete object. Like this. If you are like zoomed in, in anything and you want to like move out quickly. You can just press F and it will focus on all of the objects at once. That looks pretty good in my opinion. Last thing that I will do is what I will do is I will just create a duplicate of this good material and just give it a little bit different color just to have some more radiation. So let's see, we can select this folder right-click and just duplicate the layer. Let's first select the older layer. And I will deselect this one, this one, this one, and this one. And now I will select this top one, right-click and exclude everything first, and just select these four slabs. And then we can come up over here. Select the boot Aramaic and JD maybe just try to give it a little bit lighter color, kind of yellowish, maybe. Something like this. We can also change the word walnut color and of a yellowish color. I think something like that. I will just make it a little bit darker. Obviously, this is totally your preference only if you don't want to change this to a different material. You can absolutely keep this one only. I don't have to add this another layer. I will just quickly added, I think it adds a little bit of nice detail. I think this looks better in my opinion. We can just select over here and rename this to yellow so that we know the different material. Also, let's quickly just press Control S to save our project. And name these two shelves. Table. It's saved and wait for it to save. So yeah, I'm pretty satisfied with how my tables and the sheriff look. You can see how quickly we did all of the text string of these objects. We can just hit Save. And I think this is it for this video. You can adjust the colors a little bit if you want to. But yeah, I'm happy with all this. I think this is it for this video. I'll see you in the next one. Thank you. 22. Texturing the 4-Fold Screen and Shelf: Hello guys. So now we're back in blended again to UV, unwrap and export our props from Denver to Substance Painter. So this time I will be UV unwrapping the folding screen and the big shifts. So let's just disable everything. Also, if you remember, I think we move the location of this thing. I haven't just quickly enable back all the objects. And yeah, it is out of the room. So just select this empty, move it in here, I think. Let's move further now. I will disable everything except the folding screen and the bookshelf. Alright, so before we start off, if you remember, we need to create the handles on these drawers. So first let's do that. I think it is pretty easy to do. So now there's three for the front view of the shelf. And firstly, let's say this red shift plus S then closer to select it, bring the cursor over here, press Shift plus a, and let's add a plane. What we can do is we can select the plane and we can just select these drawers and then press Slash, go into the local mode. And I will scan this down first three again. Let's see here. Scaling down and rotate it on the y axis by 90 degrees. Bring it out. Alright, so give it a shape of a handle. So basically something like this. You can just roughly eyeball it. I think that's pretty good. Now, you can press Control. Apply the scale first. Then press Tab. Let's press two for n. Select, select these two edges and just be an x and extrude them inwards like this. To create something of this sort, then you can just add a modifier and add a solid. If I modifier makes sure to enable even thickness to fix this. Now just adjust the thickness. I will just select this, press two for x and f, select these two edges. Press control V, and they will look like this. You can give it a couple of segments. I think this looks pretty good. It's pretty basic, but it won't be even visible, I think in the scene because it is so small. It will be this far away. Just scale it down a little bit more. This gate, I will also decrease the thickness. I think that's fine. Alright, now I will select this or the mirror modifier, selected dropper and selling this. Next I will add another mirror modifier. Let's just check if it is placed correctly. I think it's fine. Next we can add another mirror modifier. And this time slashed forced to come out of the local mode. This time in the middle object option, you can select this object. So this way it will mirror it over here also. Actually pretty good. We can just select this press Shift plus dy, G then z and move it upwards. Let's remove this first video modifier. So we only have one of it. Rotate it by 90 degrees like this, and displays it in the center. To place it exactly in the center, what we can do is we can select this press Tab. Then we can maybe plus three for Face Select, select this phase shift plus S, and then goes there to select it to bring the cursor over here in the center. Then I will select this object redshift plus S, and then selection to go this way. Now it is exactly at the center and we just have to bring it out like this. And yeah, that's pretty good. We can select all of these objects and make sure to select the empty now and right-click and weighting them. So that when you select them, all of it moves together because all these objects were added later on. Alright. Again, I will select these two handles that we have created, press M and move them into the big shelf. Alright, let's turn back on the folding screen collection, and now we will just apply all the modifiers. So press a to select everything, press F3, and then search for it, convert to mesh it, enter. The next thing to do is to UV unwrap them. So first I will press control a, apply the scale to make sure to do that while everything is selected. Head over to the UV Editing Tab. And before UV unwrapping them, I want to show you one thing. These four screens that we have added like this. I want to mention that it will quickly open up VRF right now. So I will just show you something. Let's load our reference images. If you see this folding screen in the reference image, we have something like this over here. So you can see it has this kind of texture over here. So when we will be texturing this in Substance Painter, we will try to add a similar kind of texture like not exactly this one, but some kind of artistic texture on all these four screens. And you can see that the texture is like connected. It is a single texture only spread across four different screens. We cannot add different textures to different screens. We have to add a single one only. So to do that properly, we have to make sure that the UV unwrap of all these food like planes. So back together, what I mean is now we can just disabled, I mean, minimize pure ref. If I select these four screens, this tab, and I'll go first, let's see. What we can do is let's just UV unwrap them. Simply press a to select everything. Make sure to have active selection. Then press Tab, press a to select everything. Then you can simply press U and smart UV project and hit Okay. You will notice now what has happened is if we select any of the phases from over here, you can see it gets selected over here. If we select this, this face is selected. If we said this, then this bottom one is selected. Do that. You can just enable this, this way. Whenever you select anything over here, it will get selected in the UV is also. Now the problem is all four of these planes have been like UV unwrapped in different positions like this. And they are not really together. So we cannot place a texture properly. Like we have something like this running along perfectly. So it will be very difficult in Substance Painter to like projected texture onto these splints that is like a single texture only. So to do that properly, but we have to do is we can either make all of these into a single objects, so we can just select all of them. Press Control J, then press tab. There's a to select everything. Now instead of the smart UV project, you can trust you and just select unwrapped. There you can see this is what I meant. I wanted to UV unwrap them like this. They are all parallel to each other and we can easily place a texture onto this. And it would be like projected perfectly. So this is what I wanted. You basically have to do is you have to just join all four of them. This way they are like a single object only I will just undo everything. Right now they are like different objects. So just select them all. Join them, press Control J to join them into a single one. You can press Tab plus eight. Then you can press U and simply unwrap them. Instead of smart UV project, I will just unwrap them and we have something like this. Alright, so now the main issue is how we fit this thing like this uv island. If you press a and now press tab with all these islands, because as you can see right now they are overlapping. So there is a very easy fix for this first, what we can do is press a to select everything and we will just smart UV project all of our objects except the screen objects. So you can just select it, press H, and now press a to select everything. Press Tab, press a to select everything. Press U and hit smart EV project. And we have something like this. And you can now press alt plus H to bring back the screens. Press a again, press tab. And you can see now we have this sort of UV island, but the main problem is this is like overlapping. These phases are overlapping with these UE's. So how can we fix this? There is a very easy command for this. Make sure to select everything. Go over to the UV menu over here. And then you can basically select back islands. What Pat islands will do is basically it will arrange all the UVs properly. You can see now they are fit properly over here only along with the rest of the UV islands. You can enable this option over here and increase the margin a little bit. Maybe 0.011, 001 I think is good. Yeah, that's fine. I think this UV unwrap this, I think pretty good. So now you know how you can merge different UV islets. So you can UV unwrap things separately and then you can select them all together and just use this command UV, then back eyelids and it will be arranged together. Yeah, it is really good to avoid overlapping in UV islands. All right, so now we are done with a UV unwrapping. We can select this and let's add a material. Select any object, just press New. Now to add a new material, let's rename this to maybe screen shelf, Something like that. Now while this is selected, which has the material, press a to select everything, then press Control L, link the materials like this. Alright, so we're basically done with everything. The only thing we have to check now is face orientation. Before exporting, open this up, Check for face orientation. And yeah, you can see this thing is now red. If you have exported it like this only we would have got some issues. If you really want to see what would happen if you export something with this, like with this flip normals? Let's just quickly see that you don't really have to follow me right now. I'm going to select everything and he explored this, select FBX. And I will rename this to test. Do all the settings and exported right now, open UP Substance Painter. Let's close this and create a new project. Click on Select, and I will select this file that we have just exported it open and hit Okay, press F1 or F2 for the 3D view. And now right away you don't really see any problem. But if you zoom in and drive to closely look at the model, it looks very weird. So basically this is what will happen when the, when all the normals are flipped, you can see everything is looking like inside-out. And the area wherever there was like red color in Blender looks very weird in Substance Painter and rest of the stuff looks fine. But only this thing, object looks very weird. So basically this is what it means to have flipped normals. Everything is like inside out. Make sure to just fix this. So to do that, I will just select this object. Press Tab, press a to select everything. Press Shift plus n, recalculate the normals. And now it is fine if you disable this. Now, the face orientation, you can see whenever we like flip normals and fix them, these edges get like some kind of shading issues. So yeah, we fix this in the last lecture. You can select this object and add a modifier and add weighted normal. Basically that will fix everything. Now you can just hit Apply before exporting. I think we are good to go now. So that's a to select everything. Go to File Export and Vx. I will delete this old testifying to select this and press Delete. Let's name this file as finches. Makes sure to neighbors selected objects and mesh. Now hit Export. And let's come back to Substance Painter, overdue file, create a new project. Select and select Screen shelf it. Okay. Now you can see the model looks pretty good. And quickly check for any kind of issues. Then we can start with the baking and then we can start with the texturing. I think this looks pretty good. Go over to display settings and enable importantly anti-aliasing. And also let's fix the color while we're at it. Enabled this tone mapping is to log and change the color profile UE for. Alright, so now head over to the texture set setting, stab it make mesh maps and quickly do the default settings, which we were doing in the last lectures. I will enable these things and set this to four-by-four Electric textures. Let's wait for him to finish. Alright guys, so the baking is done now, let's hit. Okay. And again, we check for any kind of issues. I don't think there are any. We have this thing over here where we don't really see the backside of our model of the folding screen. And the reason for this is if you come back to Blender, I will just quickly explain this. Because these things, the screen is really just a plane. It does not have any kind of thickness. If you enable the face orientation, you can see one side is blue and the other side is red. And if you want to fix this, we can basically just add a solidify modifier to this. And you can see as soon as it has some thickness, it will be blue from both sides. But I've just kept it this way. Basically it is just a plain right now and it has no 3D depth or thickness. But it won't really be a problem because of the first thing is we will be only seeing it from this side, only like this. In Unreal Engine also, we will be facing this way only and won't even see the backside of it. And the other thing is, we still don't have to worry about it even if we see the backside, because only in substance painter, it is being viewed like this. But if we export this to Unreal Engine, we won't be able to see through like this. In Unreal Engine, everything would be fine. We cannot really see through planes in Unreal Engine. You don't have to worry about this. We will be fine. If you are feeling like it looks weird to you in substance painter, you can just select this, add a solid if I modify it to it and everything would be fine. You can just UV unwrap it again, but trust me, you don't have to do it. Everything would be fine and Unreal Engine, we won't have any kind of issues. Only Substance Painter, we will be able to see through it, but that's no problem for us. We can now start with the texturing process. Let's come back to the layers. I will leave the default layer. And basically we can start by adding a normal wood material that we have created. So go over to smart materials. Good. Let's drag and drop this course material onto here. And I will again, first click on the geometric mask, right-click, exclude everything. Or maybe we can just include everything. And I will de-select the areas where I don't want to add the word. I will select this. These things over here, we can add the gold material to them. The circles also I will disable the wood material. Also these little balls over here. And for this thing, we can de-select. These handles and pretty much rest of it can have the same Woodmont even only if you want, you can have a different variation for these roars. But I think it's pretty good. It won't really have any problems. Yeah, now we can quickly add the goal damage. Again, drag and drop it, Right-click, and this time exclude lot. And I will just quickly select all of these objects over here. Just select them like this. Now select these handles. Now the only thing is left to add the texture to these screens. That also wouldn't be very easy. But before doing that, I will just quickly save my project. So hit Control S. And let's save the project task in shelf only. Save. And now we can add the texture over here on the screens. So to do that, we first need to import a texture into a shelf. So if we look over in the reference images folder only, you will find this image. I've added it right now. This is the texture that we will be using. So to import anything into substance vendor, you can just drag and drop it like this onto the shelf. As soon as you do that, you will see this window pop up. You can click over here, you select the type of thing that you are importing. So we have alpha colored environment texture. So obviously we will select this as a texture. Next thing that you have to select these three options over here, we have the current session project and library. So if you select current session, that means this asset would only be imported to this current session only. That means if you closed often sprinter and then open it up again, you won't find this particular resource and Michelle, for me, if it's a project, then it would be important to this project only. That means you can only use this, the source in this particular project. And if you select as library, it would be like embodied permanently into your library and you can use it in any of your projects. So I will just select the second option project we only needed. In this project only. I will hit Import now. And you can see it has appeared over here. Alright, so what we can do is let's come out of this folder. This folder add a failure. So it gets added at the top and drag and drop this texture over here onto the base color like this. Very simple, you can see it has appeared like this. It does not look that good right now, but don't worry, we'll fix everything. Let's rename this to maybe printing press F4 now. So now this thing will be really useful. If you remember, we changed the prediction to drive the energy UV. But for this type of things where we have to project perfectly everything, a UV prediction is like really good. If set this to Dr. Brenner, it would be like really difficult to set because you will see when you select UE, you can easily change the transform of your pictures like when easily. Place it over here, scale it down like this. So it is really easy to adjust any kind of texture with UV protection. So first what we need to do is obviously we need to click over here on the geometric mask. Right-click, exclude everything, and just select these four screens. And you can see in the UV map also it has started to show up. You can press F1. If I forgot to tell you this, you can press F1 to bring this up. And now we can start to adjust this texture over here. Right away we notice a huge issue with our UVs and textures. If you notice over here in the UV islands, everything is looking pretty good. Like the texture is looking connected and it is looking great. But in the actual model, it is looking like disconnected. Something is appearing over here, something is appearing over here. Nothing is like in particular order. So how do we fix this? What we can do right now is the best method to do this would be to go back in. And if you select the UVs in the UV Editing tab, select your screens press tab. And if you remember, we enabled this. So make sure to enable this. If you select any face over here, you can see it appearing over here. To select the first phase. Make sure you are properly oriented. So yeah, this is the first and this is the last because that is important, I think. Yeah, So this phase is the first one. And you can see it is appearing place over here. Just make sure to select this press G than x and move it over here in the first place. You don't have to worry about overlapping because they will arrange themselves. Now, select the second phase, and you can see it is currently over here, so plus G the next. And just move it over here in the second place. Select the third one plus G. The next, move it in the third place. Like this. Select the fourth one and again, move it in the fourth place like this. Alright, so now they are perfectly aligned. If you select the first one, it is first over here, then second, third, and fourth. So that is really important. What we can do now is we can again select everything. I'm sure that it is not completely fixed right now, because I think it is. Some of the textures are upside down also. We might need to export it once again, but don't worry, we'll fix it. So with this selected all over to File Export and VX. And just replace this one only. So select screen-share so that it overlaps the File Export. All right, so now you don't have to worry, we don't have to like export everything again, like big mesh maps and we can just import it over this only, none of our progress will be lost over to Edit and select project configuration. Now go over to File and again select, just select this newly exported screen-share, double-click and hit. Okay, wait for it to load. You will see now all the UVs are updated and now they will be in order. But still you will notice that these are not looking at it because I think they are flipped. So you can see the first one is fine. So we don't have to do anything with the first 1 s one is like flipped upside down. Third one also, and the fourth one is correct. So again, let's head over to Blender, come back to the UV Editing. And basically what I will do is let's select this first press Tab. Only select the second phase, only. Make sure to select one at a time, press R, and then rotate it by 180 degrees, like this. Odd. Then type in one AT, then select the third one plus r. Then again type in vanity. Rotate them by 180 degrees and I think now it should be fixed. So press a to select everything again, go to File Export and it is Vx. Select this only again so that it gets replaced, it to export or save the blender file. And let's come back to substance now. Come over to reject configuration. Select and select this one. It okay. Now you can see this perfectly correct the way it is appearing in the UV islands, it is also appearing in the 3D view also. I hope this was not as confusing and I was cleared and explaining all this because these kinds of things happen a lot. You have to go back and forth between like Blender and Substance Painter again and again, sometimes even four or five times to like perfectly export your models. These things are completely normal and I hope you get everything right now and you can tackle these kinds of issues. Alright? So what we can do now is right now the texture is looking kind of stretched. So I will just scale it down like this. You can hold Control to scale it from both sides. You can see we see these things overhead. The texture is getting repeated. You can set the UV lab to none so that it does not get repeated. Then you can again scale down from over here and hold Control and scale it up like this. I think this way it does not look stretched and it looks pretty good. This was it. I think this is pretty good. You can F2 again to come back to the 3D view. And we will now use the filter. So go over here and let's add a filter to this to adjust the HSL values. So just select the painting a layer, add a filter from Effects menu and select the Filter. This one, HSL perceptive. Basically I will just reduce the saturation a little bit. Maybe around 0.4. I think. I will also decrease the lightness to make it a little bit darker. I think around 0.44 is pretty good. This looks really nice to me. I can just hit Save. Now. We're pretty much done with the texturing of these things. The last thing that I want to do is over here you will notice that the vertex shader is running along horizontally like this. So I want to change this to vertically because I think that would do better. So let's do that first. I think that is really easy to do. Open up good course and come back to the wood American cherry. Just set the rotation to, I think 90 degrees. Similarly do that for wood walnut also set the rotation to 90. This way, I think it looks much better. So we can just hit save now. And we are done with the texturing of shelf and affording sweep. So yeah, I hope you understood everything. The only tricky part of this lecture was like exporting it again and again and adjusting the UV eyelids. But yeah, I hope you understand it by now. If not, you can watch the video again. I'm Dr. Like practicing. Once again. Thank you for watching. I'll see you in the next one. 23. Adding the Balcony: Hello and welcome guys. So now we're pretty much done with all the props. And the only things that remain are this room and windows. But I'm also thinking of adding a balcony over here to our room. I think that would be a pretty nice addition to this scene. So let's do that quickly because it is really easy to do. So basically what I will do is Let's just select this red slash to go into the isolation mode. Seven for top view, the Shift plus a. And let's add a cube. This cube over here like this. Scale it out. And I'm trying to make like a plank of wood that we can duplicate over to create a balcony. So let's see. Just place it like this. So maybe something like this. It can also act like the floor for a room. Just place it over here in the corner. Let's just apply the scale. And I will also add a bevel modifier to this. Decrease the debit, and also add hard enormous and enable auto smooth. And yeah, now we can just select this, go to modifiers and add array modifier. Makes sure to set the factor on the veto and increasing on the y. Like this. Just make it like this so that they're ready close to each other. Here I think is pretty good. Now we can just increase the count, duplicate them all over the room like this. And yeah, that's pretty good in my opinion. I will also quickly just select this room press tab and let's fill out this empty space. So press two for its select and select these two edges. Press F and select these two. And again dress F. Let's also enabled the windows. You can just press Slash to come out of the local mode. And yet now we have something like this. We can also increase the size of the balcony very easily just press Tab to go into the Edit mode, enable X-ray. Let's select this side vertices and can increase the length to wherever you want. You can maybe increase it a little bit more. We can also maybe quickly set up a camera to see how our scene would look. So I will just quickly enable everything. And we can press Shift a and let's add a camera. So from over here you can add a camera. The way to set up a camera is like really simple. While the camera is selected, you can just first set up your view to wherever you want the camera to appear. So let's say we want the camera to appear over here. Just like this. Adjust the view. Then you can hold Control Alt and zero. And as soon as you do that in Vinci, the camera has set up over the view. Now you can go over here in the View tab and enable camera to view. This way. You can just move it around and set up the camera very easily. You can zoom in or zoom out. Zoom out too much because then you will come out of the room. So something like this. Make sure to disable this afterwards. Otherwise, it can mess up your camera. And as soon as you use your scroll wheel to move out, now you are no longer in the camera view. So to get back in the camera view, you can just press zero on your number back. And you can just view things through your camera very easily. It isn't. Nice little handy trick. Next word I will do is come back to the camera and we can decrease the focal length like degrees the size of the focus. We can decrease the focal length. And when you degrees of Oakland, you will see the camera has now more things in the view. So if you keep on decreasing it, you can see how it reacts with our scene. So obviously we cannot reduce it too much. But somewhere around five or maybe 30, I think is pretty good. If you increase it, then it will zoom in. And if you just decrease it, then the size of the perspective would increase and we will have more things in view. I think 30 is a nice value. You can again enable bad this camera to view and just adjust the scene. I'm just setting this up so that we can view the balcony. According to the rest of the things. You can see outdoor here. Let's add other things also. So what we can do now is we can really shift a and again add a cube extra 74 top view scale this down like this. Place it over here like this. X, scale it up. I can press S and scale down on the z axis. We will create like a small region who didn't balcony. Now we can just duplicate this. So press Shift plus D, duplicate it downwards like this. Alright, next word we can do is we can select both of these, press Control J to join them to voice. What I will do is I will just press Tab, press Control R and add to it loose right in the center. Enable X-ray and just delete the right side or the left side to quickly add the mirror modifier like this. And now we can add another edge loop over here like this. Somewhere around here I think. Then you can add another edge loop. And then this g, then vi and hold Control to snap it together so that they both are equal. Then there's three for Face Select. Let's select these two faces and extrude them over here. Obviously, I think this is too thick, according to the rest of the balcony. So let's just again undo everything. Rest one whole lot to select the vertices and hold Shift and Alt to select them both and just squeeze it out. I accidentally undo the middle modified also, I think so let's just add it again on the y-axis. And yeah, I think this looks pretty good. We can maybe enable the human reference selected, bring it out over here. And we can maybe decent size of the body. Can you hear all we can select this press Tab, enable X-ray, and select the bottom one like this. Make sure to only select the bottom one. And just moving downwards. Also, you can see this is like peeking out through the room. So make sure you just select it from over here, enable X-ray, select them both, and just place it in here so that it does not walk through a room. And you're lastly, we can just add the leg bunch of wooden planks to select this press Shift plus s goes to the ceiling. Let's add a cube, scale it down. Scale it up on the axis like this. Move it over here in the corner. Let's see, I think this size is pretty good. Let's add a bevel modifier to this. The bevel enable both harder normals and auto smooth. And again, we can just add a modifier. Let's first use it on the y-axis. So type in one on the y. And let's increase the count. We definitely we don't want to disclose. So there's degrees it like this are adjusted to fit like this. We can maybe select this press tab. And again, I will just select this and press Shift D to duplicate them. I think adding three would we predict good? No, I think that does not look that good. What I will do is one, for this view, enable X-ray. Select everything, deselect these two things. Press Tab, enable X-ray and just select the top part and move it down. And maybe I will make it smaller only. That way. I think it looks much better. Let's view it from the camera. This way it looks much better. Instead of having something like this. I will just keep it smaller. Obviously, this is totally up to personal preference. You can change it however you like. And now I will select this again. Duplicate this, experience it over here. You can set the y to zero on the array. Degrees account something like four maybe. And Greece, the X factor like this. Just duplicate it over here also. Now selected, add a mirror modifier. On the y-axis. Select the middle object as this thing maybe, yeah, I think this symbol balcony looks pretty good. Do not have to do too much stuff on here because it won't be that visible from like a camera. But yeah, we can definitely add it to just give it a little bit more detail in our scene. Alright, Next, I will just disable everything. I will first select all the stuff, the balcony that we created. You can press M to move this to a new collection. It okay. Now let's quickly disable everything and only keep the windows enabled. And the thing that we need to do is we need to add a plane over here in-between. Similar way that we did the folding screen. So we added a texture onto these four planes. I'm trying to do a similar thing for these windows also, we can add like a 3D plane over here and we can add a nice texture to it to give it nicely details. So the way that we can do is let's just select this press Shift plus S because they're selected press shift D. Let's add a plane rotated on the y-axis. Scale it up. I'm just trying to fit it properly with the window. This way. Indicated on the y-axis. X apply the scale first and also move it inwards. Epsilon, this portion over here and move it down like this. Yeah, that's much better. Now the only thing that we have to do is we need to create this cutout over here because obviously this cannot be completely blocked. Press Tab enable X-ray and let's see how we can do this. We can basically press control our first add edge loop in the center, hit right-click. Obviously delete this site and just add a mirror modifier on the y-axis. Next I will add another edge loop, plays this one over here. Now we can simply just press K for the knife tool. And I had a bunch of edges like this. That is pretty simple. And join it in here, then hit Enter three now and you can select this face respects and delete the faces. Yeah, you didn't see it was that simple. Let's quickly enable everything and see how it looks. Now the reason I added a camera so that you can easily move inside the room or we can just view it from Brazil. Who viewed from the inside. And I think the room now looks pretty good. The addition of the floor like this wooden plank for floor and the balcony is I can really nice. We can just hit Save on a file. And in the next video, what we will be doing is we will UV unwrap our room and windows. And finally we texture it. That would be the end of like UV unwrapping and texturing all the props. We can then move on to Unreal Engine to set up the scene over there. And after doing all that things, then we can focus on creating some small prompts us for watching. I'll see you next one. 24. Texturing the Room: Hello and welcome guys. So in this lecture we will UV unwrap our Windows room and the balcony and also texture them. So let's start. We can just quickly disable all of the collections. There's just disable everything except the windows room and the balcony collection. Alright, now what we can do is we can move this plane that we just added to the Windows, press M, and move this to the Windows collection. Alright, so I think what I will do is I will disable the windows collection for now. And we can have both of these on the same material only. Let's just select any object, go over to the Material tab. Create New. And let's rename this material to room balcony. And we can add both the things to the same material only. The wireless object is selected, press a to select everything. Then you can press Control L and link the materials by selecting this option. Next, we need to apply all the modifiers. So while everything is selected again, you can press F3 and search for it's converted to match to apply all the modifiers and we need to also apply the skin. So press controlling and apply the scale. Alright, so now this is done. Move over to the UV Editing Tab. And now as both of these things like the room and the balcony have the same material only. So we need to UV unwrap them together. If they had different materials, then we need you to UV unwrap them differently on different uv maps. But right now, we can like UV unwrap them all on a single UV map only. Just select everything. Press Tab. Again, select everything and press you smartly, we project it okay. And maybe what we can do is adjust this a little bit more. Go over to the UV menu over here, select average island scale, and also again select bad guy links. Now we can maybe increase the margin a little bit. Yeah, I think that is fine. We can now proceed further. Let's press Tab, disabled both of them and enabled by the windows. Now again, we need to press a to select everything, press F3 and convert to mesh. So hit Enter, select any of the objects, go over to the Material tab, hit New. And let's rename this to Windows. Risk a to select everything and you can press Control L and link the materials. Now what we need to do is if you remember this plane that we created, we will be adding a texture onto this like the folding screen only. So we want this to be UV unwrapped as a single thing will leave a note in different phases. So what we can do is first we can just select this thing only display this tab, make sure everything is selected, pursue and then hit graph so that it is UV unwrapped as a single thing. Then we can just press H to hide this thing and now select the rest of the objects. Press tab a to select everything. Rescue and smart UV project it. Okay. Alright, now we have something like this. To come out of edit mode, press alt plus H to bring back this hidden object. Now you can again select everything. Press Tab again. And we have this overlapping a UV. So now we can just select everything over here in the UV islands. Would you even knew and hit path islands? Just like that. You can also first select average landscape that they are averaged out together. Then again, select back islands. Alright, yeah, this way I think everything is done correctly because we want it to like UE and wrap this whole thing together only because we will be again adding a texture to it. That's why. Alright, so with this UV unwrap is done. Let's enable all three of them, the room, the balcony, and the windows. Last thing to check before exporting is to just quickly enable face orientation from over here. Now you will notice that there are a couple of objects with this red color. That means they have flipped enormous, but we don't really need to fix all of them because we will be only viewing our room like this, like from the inside in Unreal Engine. And we won't be really viewing it from the outside. And as you can see, this window appears fine from over here, as you can see the blue color, but from the outside, we can see this red color on this window. But that does not really matter to us because we won't be doing the window from the outside. This is the same as with the folding screen. The reason it is read from one side and blue from the one side is because it does not really have any 3D thickness or depth. So you can just fix it by adding a solidify modifier. But I don't really want to do that. I will keep it this way only because in Unreal Engine, it does not even matter. And we won't be when viewing it from the outside. But we need to fix this room because as you can see from the outside, it is blue and from the inside it is red. So we basically need to flip the normals. So the select this press tab, There's a to select everything, redshift plus n and nothing really happens. So you can enable inside like this. You can see with this, it appears blue from the inside and it will be read from the outside. But again, that does not matter to us because in Unreal Engine, it won't even matter. And we won't be viewing this room also from the outside like this. Yeah. Everything is fixed now because if you view from the inside this way, everything is blue-colored only. So that means all the normals are correct. We don't really have to worry about anything else. One thing that I will fix this, I will select these things. Also that select the room slash to go into the isolation mode. Seven for top view enable X-ray. Let's select this press Tab and just select them both members Jeanne and x. And move it just like this so that it is just touching the surface at the wall. And yet this is much better. Let's press Slash again. I think now we're pretty much good to go. We can disable the face orientation now, press a to select everything. Go over to File, export it as Vx and enable selected objects and mesh. Make sure to come back to our exports folder. And let's rename this to room and hit export. Let's quickly open up substance painter, and now we can create a new project, go over to File New, and just select the file you export it. So selling this room file and hit, Okay, let's press F2 for the 3D view. And yeah, you can notice that in Substance Painter also you can see through all of these objects because they were exported that way from Linda with the red color facing outside and the blue color facing inside. But if you just go inside the loop like this, that you will notice that everything seems fine from inside the do. And yet that is the only thing that matters to us because we will be viewing it from the inside only ano. And we won't even also have this like this see-through issuing unreal. It would be like everything would be solid 3D adjusting Substance Painter, we have this, so it does not matter to us. Now. We can just go ahead and display settings and enable temporal anti-aliasing. And also let's fix the colors. So enable this enable tone mapping function to log and enable color profile, the profile to UE. For. Now we can again make the mesh maps, go over to Texas Tech settings, hit big mesh maps, do the usual settings, disabled ID, and set this to four-by-four. Now we can basically hit bake and wait for the bank to finish. Alright guys, so now the bank is done. Hit Okay. And you can hold Shift and use your right-click. We rotate the light to see the bacon different angles. And I know it looks weird from the outside. But don't worry if you will move inside the room. There will be no issues with the big. As you can see, it is pretty good From the anxiety and not really initiating issues there. Now we can start with the texturing process. You can just press with lead to come out of the room this way. Yeah, we basically need to add our Woodmont ear first, go over to the Slack or D, This section, search for good and drag and drop this course material over here. Alright, come back to the layers. First. Let's delete this before here. Click over the Geometric Mask icon, right-click and exclude all. And you basically need to select the guinea first. And all of these inside parts like this. I will not be selecting these designs that we created. We can add the gold material to them. And now you can click back here anion. That is pretty much it. Next we will go over to the windows texture set and drag and drop this book goes material over there. Again, click over here. And we only need to de-select this plane, rest. Everything can have the Woodmont here. Delete these default tail. Now let's add the goal material. Search for gold damaged. Drag and drop it over here. Now again, click over this Geometric Mask icon and right-click and exclude all. We select everything and just select these two pieces. Alright, so basically what we need to do now is we need to add a concrete material overhead to a waltz. And the last thing to do would be to just add a texture to this window part. So let's do that now. Before that, I will just briefly hit Control S and save our file. So let's name this do loop and hit Save. Alright, so now for the walls, if you come over here and you shelf, Let's come back to the base materials. And search for concrete will find a different types of concrete materials, but we have this concrete clean material. So you can just drag and drop it onto your walls like this. And again, we can use the geometric masks. So right-click over here, exclude all, and then just select the wall spot. Alright. So you will notice that right off the bat, this material does not look that good. We can make a couple of changes to the material to make it look a little bit better. We can increase the tiling. You can also adjust the color and the damage from over here. But I think I have added like a better material than this in your course files only. If you come back over here and you both files open this Substance Painter files folder, you will find this concrete dot SPSS. So this is like a smart material fight. So to add this to your project, you can just again drag and drop it like this onto the shelf. And you will notice that automatically smart material has been selected. So again, you don't have to do anything now. You can just select project from over here, or even you can select the liability. Then just hit important. I have already added this into my substance of interest, so I won't be adding it again. But yeah, you can just select project then hit Import and it will automatically appear over here. I will hit Cancel and come back to the smart materials section. And you will find this concrete material up over here. So again, I will now drag and drop this onto the walls and I will delete the older concrete clean. So just select this and delete this. And now for this also will click on the geometry mask, right-click exclude all, and just select this part. And here you can see this one. It looks like a little bit more cleaner. And I think it looks better. We can now open this folder up. There is only a single layer, only select that layer and let's increase the tiling. Maybe something like ten. Yeah, I think this looks pretty good. Next, what we can do is we can add a little bit of dust and dirt to our walls. So I think that is an easy thing to do. By now. You should be able to do this on your own. So we'll just add a fill layer, this to a darker color like this. Now let's add a black mask to this. So click over the layer, click on this icon, then add black mask. And I will come over to the smart math section. Let's move the search now. And I will be using this simple desktop illusion. Just drag and drop it over here like this. And you can see it is kind of like very dirty now, but let's just select the mask. So let's reduce the dirt level now to maybe somewhere around 0.2. I will also reduce the grunge amount, which is this dirt that is appearing. So degrees of granulocyte also do somewhere around 0.25, maybe 0.25, yeah. And lastly, we can also reduce the opacity of the layer, so scientists to maybe somewhere around 75. Now you can just disable and enable the layer. So this looks pretty good in my opinion. I will also rename this to dust. And yeah, I think the last thing to do would be to just add a texture to this class over here. So let's come back to the window texture set. And again, you can open up your course files and you will find this image over here in the reference images, which is similar to that picture of the folding screen. So yeah, these are like similar designs. So we will add this texture over our window. So just drag and drop it into Substance Painter. I will select over here as texture and import the resource to project only. Then hit Import. Alright, now we can basically just create a new fill layer and drag and drop this texture onto the base color section like this, we can press F1 for the UV island view and you can see over here we can place our texture accordingly. First, let's just click over here, right-click, extrude everything, and just select this plane. And the texture is appearing over here. Now, we can first, let's rotate this. So hold Shift while rotating so that it snaps like this. Now you can see your district, I think. Let's decrease the size of the texture. Let's move this down. This way. It looks pretty good. Yeah, that looks nice in my opinion. Next, what we can do is let's first breaths to come back in 3D view. This is looking like really bright according to our rest of the environment. So again, click over here and let's add a filter to select the field that as HSL perceptive. So let's decrease the saturation to maybe somewhere around 0.350, 0.35, I mean. And also decrease the lightness. So it will decrease the lightness, the texture would become darker and if you increase it, you can see it becomes brighter. We can set this to somewhere around 0.45. This way I think it looks much better. Maybe I will decrease the saturation a bit more to 0.3. Maybe. Like looks pretty good in my opinion. I will select bad the room balcony texture sake. I also want to like degrees at tiling overhead because we can see a little bit of a reputation over here. So let's just select the concrete and maybe set the tiling and decrease it to maybe somewhere around seven. Yeah, setting it to seven. Looks pretty good because we cannot really see any kind of reputation over here. That's fine. Lastly, what we can do is we can add a little bit of dust to our Windows also. So we can just copy this dust layer, hit Control C over here and come back to Windows and just paste it over here at the top like this. Second. Now we can see the dust is appearing over here in the corners. We can select the mask. Let's decrease the contrast a little bit to point to increase the dirt level just a little bit to around 0.25. Then you can just enabled and disabled and see, yeah, that looks pretty good. Let's rename this to painting. Degrees opacity even more for this to around 60 maybe. Yeah, that's pretty nice. Also select this back and let's add a bit of grunge also. Yeah, that could be good. It is a little bit difficult to move in and out of the room. But yeah. I will also change the like. You can see, the orientation of the wood material like we did earlier. So open up the wood material folder, select this and set the rotation to 90. For both the base materials, wood, walnut, and Rubin editing che. This looks fine. I think. Maybe I think we should go back to the earlier one only because these things over here, you can see odd looking at it. Yeah, I think this is better. So yeah, let's just move on with this only we can hit Save now. I'm pretty happy with the texture. We are now done with all the texturing of the major crops. So in the next video, we can start to export everything into Unreal Engine and set up the scene over there and set up some lighting. After all that, we can work on maybe some small props where Anglos watching. I'll see you next month. 25. Setting up the Scene in Unreal Engine: Hello and welcome guys. So in this lecture we will be setting up everything in Unreal Engine, will create a new project in bold, all our models and textures that we have created in Blender and Substance Painter into Unreal Engine. Now, we'll start in Blender by exporting of everything in a single file only. So that way it is easier for us to emote all the models at once only in Unreal Engine. So what we need to do is basically we need to enable that all the collections first, enable all the process that you have created. And now we can just select everything and export all these into a single FBX file. And that file we can import into Unreal Engine. But before doing that, I will just select this piece. I want to duplicate this one. Let's just quickly do that first I will select this move, this word can write listing also. See somewhere around here you can now press Shift G and select the children. Make sure to select this also the empty redshift plus D to duplicate and y, Let's place it just like this. So you can make a couple of changes to move things around here and there, or maybe even duplicate something. You can also do that in Unreal Engine also, but it would be easier to do that in Blender. But I think I'm happy with everything right now. So I will just press a to select everything. And then we can go over to File Export and select MDX. Let's come back to the exports folder. And I will rename this to full room so that we realize that this is the complete file with all the models. Make sure to enable the cell to the objects and also enable mesh from over here and just hit Export. Wait for the export to finish. It is done. Now, you can click on Unreal Engine. So open up Unreal Engine now. And now you will have something like this. So just click on here games to create a new project. Select blank all these settings. You can keep them at default only. Let's rename the project to Chinese underscore course. Let's hit Create and wait for the budget to set up. Alright, so after Unreal Engine has opened up, you will see some sort of this level. You can move around in Unreal Engine by just holding down your right-click and then using your WASD keys, like you would do in a video game is very simple. Just fold your right-click. If you simply hold the right place, rotate your view, and if you press WASD, you can move around the view. So very simple. Now let's see. We can start by creating a new level. So this is a default level. We won't be doing anything over here. I can just come over here in the shelf or in the Content Browser. If you don't see the content browser, you can press Control plus phase and you will see it will pop up like this. But if you click out of it, it can go away. So to keep it permanently in your view, you can just press Control plus space first and then select darken layout. So as soon as you do that, you will see it will be permanently there in your view. Now, after bringing the content browser in, just hit right-click over here and create a new level. And just hit Enter. And now this new level is created. You can double-click to open it up. Let's hit Save. As soon as you do that, you will be welcomed with this completely black stream because this is a new level, so this does not have anything added to it. So we can start by adding stuff. So first let's set up the level a little bit. We can set up things like lighting and all that. And after that we will export all our stuff. So yeah, what I will do is go over to Window and search for this place after window, select this and displace actor window will appear. And now you can search for things like that extra light. We can start with a directional light and just drag and drop it into our scene like this. Nothing really happens, but wait, next thing to add this guy atmosphere. So search for supplied and atmosphere. We have this thing over here. So just drag and drop this one also. And you will see something is happening. We have a little bit of sky in our scene. Also make sure to select your directional light. If you are not seeing disappearing. Select a directional light and an OH here in the details section, search for atmospheric sunlight. We have this atmosphere sunlight. So I think by default is enabled it now, but sometimes it is disabled. So if you're disabled this, you will see it is not working anymore. So make sure this is enabled in your scene or in your directional light to make sure to enable atmospheric sunlight. And next thing to add is the search for exponential pitfall. This is like basically fog. We can adjust the, if you remove the search from over here, we have all these details. So we can search the beginner, just the fog density from overhead and things like that. Right now we can keep these are default only. And here we have a basic scene set up. Now the next thing we will add is the skylight. Search for Skyline and add this. Select the skylight and make sure real-time capture is enabled. And the last thing to add is basically Volumetric Clouds. This will add a bit of clouds in your scene and you can see they look pretty good. This is the basic scene setup. We are done with this. We can select all this and click over here on the folder to keep them all in a single folder only. Let's rename the folder now so you can just select it and press F2, or you can just double-click over here. And let's rename this to lights. Alright. Now we can come down in our Content Browser again, I will close this place actors window because we do not need it right now. We can bring it back from overhead also. And we also have this small little menu that even just quickly add something to this. Also, come back to the content browser. Let's right-click and create a new folder. This folder, two models. Open it up. Let's create another folder over here. And I will read in the full room because we will be importing our complete room into this. So now again, open this folder up. Let's flip over to Add import. Or you can also right-click and important to game models like this, come over to your directory and in the exports folder, open up this full room and now just hit Import All and wait for the import to finish. Alright, so the input is done. Now let's close this up. And now you will notice that along with all the models, the materials are also added over here. So that is really helpful for us because we can now add textures to these materials and it will be really easy for us. Alright? So what we can do now is we can just basically select everything. Click over here, down at the bottom hold shift and select this thing so that everything is selected except the materials. And just drag and drop it into your unreal scene like this. Wait for it to load a little bit. Now that everything is loaded up, you will see right off the bat, we're kind of seeing through our Windows. That is the same issue that we faced in Substance Painter. But don't worry, I will fix this just in a minute. And we won't have these see-through walls. We don't have to worry about that. First, what I will do is while everything is selected, make sure to set the location to zero comma, zero comma deal. All right, so now we have models into Unreal Engine. We can start by fixing this issue only. It is very easy to fix. We need to just select each and every material one-by-one and just turn on a single option. What we can do now is we have these filters over here in this folder only click over here. And we can select the material factor so that only the materials are shown, that it is easy for us. So select the chair material, open it up, you will see something like this. Make sure to enable two-sided. So just come over here, select this big node, this big node, and make sure to enable two-sided like this. This will make the material to sign it and it won't be like see-through. So now saying, wait for you to save, nothing won't really change because this is the chair material. When ordering need to make the chair material two-sided, but we can just say every material inside it. So first let's start by doing the room balcony so that you can see the changes. Select the big node enabled two-sided. As soon as you have seen, you will see now all the walls would be 3D. Yeah, you can see it was really easy to fix in Unreal Engine. You can see now the light is not passing through. Let's just quickly do this for each and every material. Enabled two-sided, one-by-one. You can see right now this window is also C2. We can see through the window from this side, but we cannot see from this side. But if you open up the windows material enabled two-sided. And now again, if safe, we'll see that would also be fixed. And yeah. Let's just do this for the last material also. Able to sign him hit Save. Alright, so we are done with the basic things right now. I won't really set up the lighting or things like that because we can do that properly later on. We can also see some of this light bleeding issue. When do we fix that also? Alright, so now what we can do is we can start by adding our textures into Unreal Engine, and then we can add the textures to our models. One more thing, if you want to adjust the lighting right now, it is very easy to do. You can just press Control L and you will see you can move the lighting very easily. This is like a really nice setup in Unreal Engine. You can create evening time also. And we can also read grind day setup is very easy to do and it is very fun also. If you view this from inside your room, you can see how it reacts to the lighting. You can create some nice looking setups. You can see, let's save this for later on. Right now, undo. And I will maybe start by adding all the textures. Alright, so let's open up Substance, Painter, and wildlife. It opens up first, I will just undo back to lighting default only. Yeah, that's nice. Next, I will also quickly add a camera. So click over this menu, go to cinematic and selects in a gambler active. You can see this has added a camera into our scene. So to adjust the camera, again, it is very simple. You can use your right-click and set up the scene using a WASD keys. Very simple. Maybe something like this looks good. Then you can select the camera, right-click and select Snap object to view it. As soon as you do that, you select Snap object to you. You can see a view of the camera has changed. So to view things from the camera only, like from the camera's perspective, you then select the camera, right-click and select violet. As soon as you do that now you're piloting the camera. You can control it also from over here, or adjust things like the placement of the camera or focal length, all those things. So select the camera, Let's come down over here and send the lens to dwell on them. So this I think is too much. You can increase the focal lens from here only set this to maybe something like 30. So I think there's just too much. So what I will do is I will set a custom amount, 12-30. So set this to custom, or just open up this lens setting. You can first set this to 12. And now just keep on increasing the minimum focal length like this. I'm planning on setting it something like 18 because I think that is the perfect value. You can set both the minimum and the maximum to 18. And then you can use your right-click and use WASD keys to adjust your camera perfectly. Along with the views, something like this. You can also come over here, like select the camera speed and set this to one so that we are Camden woman would be like very slow and very precise that you can place it like perfectly. I'm just holding right-click and simply pressing S or WASD like all the keys and trying to set it up perfectly. And I think this view looks really good. We can set this back to fourth. One thing that I like to do is so that I don't lose this view. I select the camera right-click and come over here and transform and select Lock actor movement. So what this will do is this will love the transform of a camera. That means you cannot move it anymore. If you now hold right-click and tries to move it, you will see it is not moving. You can see this log written over here. So this helps us do not accidentally move the view of a camera. Because sometimes I feel like I have found the perfect shot of my camera and I accidentally move it away. So to make sure that does not happen, I always enabled this log transformed movement. Whenever I feel like I've found the perfect shot for my camera. If you feel like you're not liking it, you can again select this and now you're going to get, move your camera. But I prefer to keep it exactly like this. Then just quickly Right-click and enabled locked at the moment that we don't accidentally move it away. And yeah, this is perfect. We have done everything that we wanted to do in Unreal Engine. So let's quickly come back to Substance Painter. Now, let's close this and what we will be doing is we will one-by-one open up all the projects and then export all the textures from over here into Unreal Engine. So first, let's open up the file. So from over here, the same fines. And I think I will start with the chair and table only. Select this fight. Wait for it to open up. And before we actually export the texture from over here, we need to create a folder in Unreal Engine. Let's come back to under limited from back in the content. Make sure to remove the material filter like this. Just click on here and right-click and create a new folder. Let's rename this to textures. And now what we will do is we will directly export our textures from Substance Painter into our Unreal Engine only in this Textures folder. This will save us a lot of time because if we don't export our textures directly into the project, we will have to import them again and again into Unreal Engine whenever we make a small change in any of our textures in substance painter. This is kind of difficult to understand at once, but I will explain it directly by demonstrating only. So just follow my steps right now. And you will see after we have created this Textures folder, double-click to open it up, Let's create another folder now, right-click and create a new folder. And rename this to cheer table because we will be exporting our chair table textures from Substance Painter directly into this folder only in unwillingly. And now we have created this folder. Select this right-click. And you can see showing exploded. You didn't select this option. And as soon as you do that, you will see now this folder has been opened up in its actual location in the Explorer only. So click over here and just make sure to copy this complete path. So you can see this path, select this right-click and copy it. You can now close this and come back to substance between them. Alright, so now we need to export our textures. You just hit Control Shift and E explored the textures like this. We have some settings over here, but we only have to worry about these general export parameters. You can enable or disable the different texture sets from over here if you will live on to enabling the writing table or if you only want to enable the chair. But we want to export everything so I will keep them both enabled. Alright, so let's see these settings now. The very first is output directory. This is very important as we need to specify the output directory properly. So if you remember, we just copy the output directory or this folder. Paste it over here. So select this click over here at the top and make sure everything is selected that's controlling and just delete everything. Now, press Control V to paste the path that you just copied and make sure to hit enter. Because if you hit Enter, then only you will come in that particular folder. Make sure to double-check this that you are in the chair table folder. You can hit Select Folder now. And we have said the export path now for the output template, click over here and we have different templates like we have different for Blender. We also have like Maxwell Kishore. These are different softwares. So you can scroll down and you will find this Unreal Engine four back. Select this one. We are working in Unreal Engine fine, but it does not matter. This will go perfectly. Next. We can select the file type. I will select, scroll down. And you can select eight bits plus D3 size. We can certainly is to forget to get the best quality of our textures. And these are the only settings that you need to change. Now, as soon as you could export. Wait for it to finish, even see it over here. So now the export is done. If you come back and Unreal Engine, you will see nothing really happened in this folder. But if you hit Import over here, you will see this pop-up like six changes have been done to the source content files because the textures are added into this, we can see this pop-up. You can hit Import and wait for this to finish. And you will see this chair table folder reappear. After all the exporting is done, you can open this folder up and you will see all the textures have appeared over here. So if you have noticed, we have really skipped a step in between. We didn't really put anything into unlimited. If you remember, we didn't like right-click and import all these textures into it. Directly, just exported from Substance Painter directly into Unreal Engine only because we already specified this directory at the start. So this is the reason that I indirectly connected like substance painter and Unreal Engine. Because anytime we make a small change to our texture, we can directly exported from over here, from Substance Painter directly into Unreal Engine. And we don't have to do all those steps again and again. It will just hit one button over here and all the changes would be done. Again. If you don't understand this completely, you don't have to worry about it. Let's just add all the textures and then you will understand. Now let's come back to Substance Painter. Close this up. Let's open up the next project. So go over to File. You can just hit fopen. To save on this. Let's come over to our substance painter files. So we have four different substance painter file, so we need to export it like four different times. So let's select the next one. Says the room. Open it up. Alright, so now this file has opened up. Let's hit Control Shift and E. So first we need to get the output directory. So come back to Unreal Engine, right-click and create a new folder. Rename this to rooms. Now select this and right-click, show in Explorer. Click over here, copy this complete bought, and now close this, come back and substance painter, select the output directory, click over here. Again. Click once over here, then hit control V. Make sure to hit Enter. Then only you will come in this room folder. So make sure to double-check that you are in that particular folder that you want to export to. So now we are in the room folder, hit Select Folder. Select the output template as Unreal Engine four. Let's do all the same settings. Foci, and hit Export. Now, wait for the expert to finish, and as soon as it's done, we can go back to Unreal Engine. We need to just hit one button over here, this import and all the textures would automatically be inputted into religion. We don't need to do anything else. Alright, so now all the export has done is create another folder. And I ping. First, I will check the name of the file. Let's close this up. Go over to File and legs open up the next File. Save on this. And we have the screen share files open this one up. Come back to Substance Painter, select the new folder, hit F2, and rename this to screen share. Again, right-click showing exploded. Click over here and copy the bot, knows this and come back to Substance Painter, Control Shift and select output directory. Click over here, paste this, hit Enter. Now select folder. If you do all the things. Now hit Export, Export As then. Now let's come back to unreal engine and hit Import over here. Alright, so check if the board is done. We can go back with substance being done. Close this open, save. Now open the last file, shelf and table. Coming back to underlings index, create a new folder. Shelf. Right-click, show in Explorer. Click over here, copy this, this out. Now we can again hit Control Shift and select output directory. Hit Enter, Select Folder, rectangle, Indian food packed. Now again hit Export. This is pretty easy to do. In the next lecture, I will show you what is the actual use of connecting these two. Because anytime we make a small change in substance window, we can easily important all the textures into Unreal Engine without any hassle. So they can vote. Alright guys, so now all the import and export is done. We have all our textures into Unreal Engine. So I think this is it for this lecture. What we will do in the next lecture is we will add all these textures into our material so we can actually see them appear over here in Unreal Engine. And one more thing that I want to mention is that I'm seeing this small little issue with our table. As you can see, we have this small little shading issue where we cannot see this object properly. So let's fix that also in the next lecture. Also before going, I will open this lights folded up and drag and drop the camera into the folder only. And we can select the folder F2 and rename this to me. Like some camera. Also, I will select all the models. Click over here, come down, hold Shift, and click over here. Create a new folder. And let's rename this to models. Just so everything is like little bit easier to manage. I'm happy with all this. We can hit Control S to save and also just make sure to close Unreal Engine ones. You will see this whole menu. And we can just close it once and hit Save Selected so that we can just save everything once hit Save Selected. And yeah, we're good. Alright guys. So thank you for watching. I'll see you next time. 26. Exporting Textures: Hello and welcome everyone. So before starting, I want to mention something that I don't really know what happened. But when I close my unveiled Project and reopened it for recording this lecture, all those lighting issues that we were seeing at the back of the room in the last lecture. Most of them are fixed automatically just by restarting and we'll reject. So unreal can be a bit unpredictable sometimes like this. So if all those issues are fixed for you Also after these starting, that's very good. But if they are still there, don't worry, we will tackle them after we are done adding all the textures to the materials. But first we have to fix this small issue in this shading issue of this piece over here, I think it is really easy to do Eigen goodly open up Blender. And let's see. What I will do is I will select this and just press delete and delete this from over here. Come back in, Blender, open a bar fight. And we can only export this thing out again. Once again, just select this press Slash to go into the local mode. And to fix the issue I think it is being caused because of this geometric. You can just press Tab, press a to select everything. Then you can just press Control plus T. That will triangulate all these phases. So I think that would fix the issue. So let's just export this again. After you're done triangulating, after pressing Control D, just basically select this while in the local mode only because you only need to export this thing only. Now go over to File export, FBX, Export folder. Now rename this to something like legs, underscore fix, enable selected objects and mesh it Export. Now we can come back to Unreal Engine. Let's open up our model's folder. And they don't add in board. And just select this table legs underscore fixed, fine. Let's import all. And here it is. Now I will just quickly show you the benefit of putting in the location coordinates as zero comma zero, comma zero. If you remember at the start, we did this. We put in all the x, y, and z coordinates are zero for all the objects. So now we can just drag and drop this table legs underscore fixed file. And we don't need to like set it properly according to our table. We just need to type in zero comma zero, comma zero. And you will see it is exactly at its position, the same position that was in Blender only. You can just like add any object. You didn't place any object in Blender anywhere you want in this scene only, then you can export it out to blender and just type in zero comma zero, comma zero. And it will be placed exactly at the location that was in Blender. So yeah, that is like really small shortcut, but it helps to speed up our workflow because later on when we will be creating crops, we can place them properly. Overhead are in all these places in Blender only. And then after we're done exporting them in Unreal Engine, we can just type in zero comma zero, comma zero, and they will be placed perfectly. Alright. So now we can start to add textures to the materials. Let's enable the Material Editor. And first let's open up the chair. Full-screen this, select this thing and delete this. Now even risk are enrolled plus space to bring up this Content Browser. Go into the texture folder in the chair table. So now there are six textures. We only need to select the chair one. So you can see over here in the naming, you can see cheered is written. So these three are the chair materials and these three other they will materials. The three chair textures, drag-and-drop them. Now it is very easy. So the first one, discolored one. You can select the RGB and this one goes into the base color. Now the next one is a normal texture that goes into that normally. And the last one is like a bag texture, which is like three different channels carved into a single one. So you need to remember that the R channel goes into ambient occlusion, the green channel goes into roughness, and the blue channel goes into metallic. This is like a bad picture. This helps us to save memory because in a single direction only in three different channels. We have three different textures for metallic roughness and for ambient occlusion. You can check this over here also, if you open up Substance Painter, maybe you forget a word channel corresponds to what texture you can move you open up substance painter, and just wait for it to open up. And yet now we can open up any project just to show you. Alright, so when you press Control Shift N E to export the textures, we also have this output templates. Here are all those templates, like for Blender, for unwilling, and also over here. So when you select the Unreal Engine for bad picture, now you will see there are four different textures. If you will, notice this thing over here. So this texture set, this has three different channels, RG and B. If you hover over the blue channel, you will see this is metallic, it is written over here. And then the green channel is for the roughness. And the R channel is mixed air, that is mixed ambient occlusion. So yeah, you can just double-check it from over here. So these are like three different lectures packed into a single one onto like different color channels. So here this is really helpful for us as it helps in saving memory. Alright, so now we can just close this. So you just need to remember this thing. That our sash for ambient occlusion, green stamps for roughness, and blue stands for metallic. Alright, now we can just quickly hit Save, wait for it to load. Let's go back to our 3D view so you can just close this out. But there is still one issue that you will notice that our material is looking like really shiny all over the place. You might not notice with this small texture. But if I add these two, Let's just go ahead and add the texture to the Truman Balcony also. Then you will notice, let's select this, close this out, press Control plus space. Go back to the textures. Now in the room folder, drag and drop this room balcony textures. So these three drag-and-drop them. Again, we need to do the same thing. So the RGB goes into the base color, for the base color map, for normal, goes into the normal channel. And for this one goes into an illusion. Green goes into roughness, and blue goes into metallic. You can see over here even the preview, this is looking really shiny. This is like a small thing that we need to fix, don't worry, we'll just do it right in the moment. When you hit Save. Now close this. And now you can clearly see that the complete material is looking like really shiny. Even though we did not do all these things in substance painter. This is like a little problem for bad pictures. You need to enable one single option. So if you quickly open up the room balcony texture again, select the bad picture. And click over here. Just double-click over here. This window will pop up. You just need to disable sRGB. So when you disable sRGB, there would be this edit very smaller that you can read this error over here, sampler type is set to color, should be linear. So now we need to just change the sampler type from over here via this texture is selected, change it from color to linear. Now, let's just see if you'd save. Wait for all the materials to load. Now you can see, you can clearly see that they are not really shiny anymore. And they accurately represent how we created them in substance painter. So let's do the same thing for the cheer when also select this path texture double-click over here, disabled SRGB. Now set the sampler type from color to linear color. Click Save again. You can see as soon as we change the sampler type, the texture like you started to recalculate. Yeah, now you can clearly see it is not shiny anymore. And this way it looks much better. I will also scroll up. Let's close this. And in the lights camera folder, right-click on the camera and piloted so that we can just view it from a nicer landed. And one-by-one, Let's add all the textures now. So open up screen shelf. Maximize this, close this up and roll blood space. Now select the screenshot. Drag and drop these three lectures is to base color this one to normal. Ambient occlusion, roughness, and the metallic Save. Now you can see the texture is appearing. Let's select the path texture. Double-click over here, disabled sRGB. Answered the sampler type linear column. It's safe. So now I will be just repeating this process again and again. So you can also quickly do this. Select the table and shelf there, solute this press Control plus space. I'll drag and drop these three. Again, I will select the texture disabled SRGB, and also change the sampler. The window material was in the room folder only. So open that up and now drag and drop the window textures in, connect them into base color normally and all their respective channels. There's also change this first before saving. And now I've saved. Alright, so we are almost done. Last thing is this table. Select the texture. I'm disabled SRGB and change the sampler type linear color. I'm safe. Alright, so now we are done with adding all the textures to the materials. And now our scene looks pretty nice. Obviously the lighting is really, really flat right now, so it does not look back. Don't worry. We'll change the lighting and add things like post-processing, make it look even better. You're going to press Control L and just change the lighting and see how it reacts with your environment. You can see we can create some nice lighting setups, something like this. You can also press G to just disable all these things like this is the grid and all of these icons. You can just press G and you can just view your environment properly. You can also come over here, click on this button and open up this menu. You will see the screen percentage option. If you increase this to 200 per cent. And now you will notice that the scene is much more sharper and looks really good because This is like the resolution for the environment. If you increase this, it will increase the screen percentage and the resolution degrees it. Now like Unreal Engine would be really fast, but it would be like really bad looking as there is no resolution and everything looks very fuzzy. But if you increase the resolution to do 100 per cent, now everything looks crisp and clean, but you can see it is very laggy. They are, we can set it to somewhere around 100. I think. That would be the perfect mix of the things. Alright. Let's come back to our camera only. And I didn't change that the lighting too. Something like this only for now. We also have this fog enabled. You will see when I disabled the fall, Let's see, it looks much different because of this fox. So you can select the fog and maybe decrease the density to 0.0 001. Yeah, that would make it look a little bit better because I think too much fog in this scene looks really bad. Before proceeding. Let's just hit Save. And let's see what we can do next. Right now, a lot of light is leaking into our room through the corners of the walls. We cannot really see it right away, but it is making a boom look really bright more than it has to be. And it might look a little unrealistic. Also. Click over here outside anyway and press control plus L to move the lighting and move it completely up like this. You can clearly see that the light is coming through all these areas. So how do we fix this? It is very simple. First, let's just undo the lighting. So press control Z, and let's keep it this way. Only. Come up over here, select the camera right-click and let's stop pirating. And I will just move out of our environment. And basically what I will do is I will add a bunch of cubes all in different directions of the dude just to create a lot of shadows. So basically what I mean by this is let's just click over here, go into shapes and add a cubed. Basically what I want to do is first I want to raise the skewed right around the corner like this. We can also click over here. Right now we are in the perspective. We can view the top view. So this way it is easier to place this cube. Also, if you are looking for shortcuts w, using w, you get like moving around the object. E is for rotation and scaling. Really simple. Now, after pressing W, you can move around the tube like this, just along the wall of the room. Now press R to scale it up and just scale it like this just along the wall of the room. Now we can come over to the left view and again, press art and scale it this way. Let's place it along the wall. Now come back to the perspective and you can clearly see what I mean by this. Basically, I want to place the cube along all four sides of our room. Basically what this will do is it will cast shadows and not allow the light to pass through this. And basically, that will make our room a little bit more realistic because no extra light is coming into a room through the corners of the walls. Alright. We will see this in full action. Just a second. First, I will select this table legs that we just imported these things and drag and drop them into the models. I will not move this cube into the models because this is a separate thing. Let's just select this now. I will press R and make it thinner. And just make sure to place them exactly. We don't have to scale them any much more than needed. This much is pretty good. Let's move it like this. Press Control C and Control V. And we have created a duplicate of it and placed a duplicate over here like this. You can see it is casting shadow and it won't allow any light to pass through. If you go into the room right away, you won't notice any difference. But if you disable these two, you can see all this extra light is coming through the walls if you enable both of them back on. Now all that light has disappeared and the coordinates are looking much more realistic because they are darker, and that is how it is supposed to be. Let's just add these cubes in all four directions. I mean, all six directions. Now I will select this press Control C and Control V. Move this one up, this E to rotate and rotate it by 90 degrees like this. You can snap your rotation movement and scale by different amounts using these options. Over here you can see rotation is currently set to ten. So it is rotating by ten degree increments. Then we also have movement and scale. You can adjust these kings. There's W now. Explains it over here. Press R to scale it up. Again, press Control C and Control V, and place this one at the bottom. Just control C, control V again. And let's place this one over here at the back. Make sure to place them like very close to the walls but also not overlap them. So just make sure there is a little bit distance. Dislike this. We can also select this thing is control C, control V. And place it like this over here. Because we cannot really see this portion of the environment. Let's just build things towards camera. Kind of see this. So select this and move it a little bit backwards. That's come out of the camera. Alright, again, duplicate this and place this one over here. Now let's come back to the camera and you can see how things are much more darker now, we can easily view this. So just select all of them and add a new folder. And let's rename this folder with something like shadows. Now, if you're disabled this entire folder or hide it by clicking over here, you can clearly see how much extra light was being added into our scene through these walls. Now all that is fixed. And I think the scene looks much, much better this way as the corners of the room look much more realistic and darker. Now I will just quickly adjust the position of these cubes a little bit. Because as you can see, we can kind of see a white cube appearing over here. So let's just come out of the camera quickly. Tried to fix it. Also. I think this one is kind of interfering with the normal light of the scene. As you can see. It's just placed it a little bit towards the right, like this. And also I will select this one and move this one on the left just a little bit. You can also disable snapping from over here so that you can move freely like this. Let's just viewed through the camera once and see if everything is nice. Now I think we cannot really see the juice from this window. So that's pretty good, I think right now the lighting looks really valued is not that great, but don't worry, that will be the focus of our next lecture. We will be adjusting the lighting, adding the post-process volume, and try to make the scene look as good as possible visually. So yeah, this is it for this lecture. I will see you in the next one tenuous watching and also make sure to save your own projects. 28. Creating the Vases: Hello and welcome guys. So now we're back in blender again. And in this lecture we can start with creating some of our small props for our scene. So if you go into Resource Files of the course and in the reference images folder, you will see that I've added a couple more images. So we have different types of vases, lamps, we can create them. You can also go back to some of the older reference images, like we were using. This one. I think we can create some sort of these small props. So we have this small d bought a cup and this incense burner. We can definitely create these things. We can create like four or five different types of VCs to place on our shelves. And yet, this will help us to fill up our scene. Alright, so let's start. I will close this. Right now. What we can do is you can just quickly disable everything because you really don't need anything right now. First I would say this because a point right in the center. So press Shift plus S and select Gaza to world origin. And now we will start by creating some broth. So let's start by creating a simple way. So I've added this very simple image of ways we can start by creating. We also have a couple of different ones. So you can choose from these and create whichever one you want. Alright, so we can start with the simple one. First plus one for the front view, Let's press Shift plus a and image reference. And in the reference images folder you can just select this phi. Alright, so creating this is fairly simple. I will also turn off the camera. I will just hide it so that it does not block of you. Alright, so now press Shift plus a and let's add a cylinder. So press tab, select the bottom loop and you can just try to match it with the reference image properly. Scale it down, and just place it perfectly with the difference image like this. Now we can just basically select the top loop and delete this. So press X and delete the vertices. And we can start to create our vase from the bottom. So just select this completely. Now press E to extrude and extrude it to wherever you want. And after clicking, you can press S to scale it up and try to match it with the reference image. Again, press E for six through this till here, scale it down. We need to just repeat it again and again. Basically just press E, basically here press S to scale it up like this. Now I will just quickly repeat this process again and again and completely trace out this reference image. Alright, so we're already done. Let's select the reference image. Move this backwards, disable x-ray, and select the ways. Right-click and Shade Smooth. Come over here and enable auto smooth. Stop. Three for the Face. Select, let's select this top face and delete the face so that our ways actually looks like a vase and we have this empty space in here. We can now basically to give it extra smoothness, we can add a subdivision modifier if you want. Like as you can see as soon as you aggregate this, now as you can see as soon as you argued this, everything is a little bit more smoother. So yeah, we can definitely add this rest, rest 34 face, select this bottom face. And you can just press I to insert this. And this will fix the shading that you can see over here. Alright, so we are done with the first ways. Now we need to scale this waste properly so enable the writing table. As you can see, this table is really small compared to our waste, so we need to scale this accordingly. Place this one over here. Let's scale this down because I will be placing this ways beside our table only as you can see in the reference image. Also, quickly open up your wrists. Right-click and load the scene. You will see we have this huge base over here, please, right beside a table. I'm trying to create something like that only. I think this much size is pretty good. That's pretty nice. Alright, next we can create some more vases, so I will just minimize pure ref for now. And also, let's select this reference image press M, and move this to the reference images collection. We can also turn off the writing table for now. Alright, so let's continue. Redshift plus k. Go to image reference and let's add another difference image of all these vases. This one. I will select this image and brett slash to go into the local mode so that we can work with this easily. Alright, so now you can choose a couple of different phases. I think we can create three or four years to have a little bit of variation and add them in our scene so you can create whichever one you want. Alright, so maybe I will start with this one. So again, we just need to add a cylinder. A cylinder, place it over here, enable X-ray. And just try to place the bottom loop like this. The bottom line of this vase. Now just press tab. Let's select this top loop. Bring this down. We don't have to create this one perfectly as this will be like really small. Now, just press P extruded inwards, press E and extrude this outwards like this. You can see that the reference image is not matching perfectly. You can try to match it on your own because this is not really a perfect reference image. That's why it is quite possible that the lines don't match on the right and the left at the same time. But it does not matter that much. Because you can just scale it like this and create something acceptable. Because as I said, this problem would be like really small placed on a shelf. So you can just match it with one side of the reference image and the other one. Can we just kept that really. As you can see, it does not really match, but I think the way it looks fine. Let's disable X-ray. We can just right-click, Shade, Smooth, enable, auto smooth the staff, and receive a facelift, and just delete this top face to create this hollow shape. Yeah, I think the way it looks fine. And again, press Tab or Alt and select this top loop. Then press S to scale it outwards like this, this control beak. And they will this one like this, so that it is a little bit more smoother. You can see this kind of like shading for this is because they are a lack of geometry over there. So just press Control R and add a couple of edge loops in between. And you can see it is a little bit better now. You can add one more like this. Now it's pretty good. I think. I'm happy with this way. So let's continue and reshift day. Let's add another cylinder. Let's create this one. Enable X-ray again, scale this down. Again, try to match it with the bottom line is tab. Select this. Now this scaled up. Again, I'm doing this pretty fast as I said, because these objects will be really small in our scene. We don't have to spend too much time on them. Delete the top face and enable auto smooth. I would like to more edge loops over here. So this press Control R and then hit right-click. Alright, so let's see plus one again, and let's create this one. So again, redshifted. Let's add a cylinder, enable X-ray. This loop recipe. I'm excluded according to the reference image. I'm trying to match it over here like this. It does not really come along well with the left side where it does not matter to us. You can scale it up a little bit. Next weekend, just disable x-ray and shade smooth this first enable auto smooth. We can maybe add the bevel modifier to this one is to add a little bit of more smoothness staff. And let's delete this top face. Like this. Yeah, that looks fine. I think. Next let's create this one. So again, I press one for the front view press Shift a left sided cylinder. And as I said, this is like totally up to personal preference. If you're fine with like creating two different bases only you can definitely just create to skip this video. Because I'm just creating a lot of different ones so that we have a lot more variation in our scene. But yeah, you definitely don't have to like create so many because we can just duplicate them also. I you just move this one a little bit on the left leg this so that I can fit a little bit better along these lines as you can see. Alright, so I think that's pretty good. Let's hit right-click, Shade Smooth. Again, enable auto smooth. And let's delete this top face. I will also add the bevel modifier, this one also, because I think these ones are a little bit larger compared to these two, where we can definitely add the bevel to make them look a little bit smoother. You can select the bottom face and press I to insert just to control the bevel. Alright. I think I will create this one as my final ways. So this one we can create. And yeah, I think that would be it. So in Redshift day, Let's add a cylinder. Enable X-ray scale this down. Stop. Let's select this top one. Just scale it up. I mean, we can just move it towards the right a little bit just to fit it properly. Along the reference image. With this, we are done with creating all our bases, which leads us to chase mood and enable auto smooth, stab. Let's delete this top face plus x and delete the faces. You can either add the bevel modifier to this or you can just raise to four and select hold Alt, select this complete loop, then press Control V and bevel it out like this. You can also create smooth shapes this way. Also I will add a couple of more edge loops over here. Press Control R, scroll up a little bit. And I do all three age groups just to fix the shading issue. Alright, so now you can press Slash to come out of the local mode. And we can just select this reference image, press M, and move this to the reference images collection. Let's also place them side-by-side suppress one for the front view. And let's paste them like this. Also, we need to scale them down because this one is like a largest ways I think. So compared to this, these ones, should we like a lot more smaller? See, I just place them side-by-side. And just select them all. Hold Shift, select this one, just select all these. And then we can first move this back. Now we can come over here, select individual origins. Let's press one for the front view and scale them down like this. I think this much is fine. Yeah, now you can press a to select everything, press M and move this to a new collection, rename this to resist. Okay, Risk Control a, and also don't forget to apply the scale of all of them. Now let's hit Save. Alright, so I think this is it for this lecture. In the next lecture, we will continue creating some more props. So thank you guys for watching. I'll see you the next one. 29. Creating Small Props: Welcome guys. So now we can continue modeling approach. So first let's open up your life. Come down over here. And let's open up our scene. Okay, so we can start by getting some of these small prompts that are on the table. So let's create this one first. So what I will do now is I will just disabled this basis Collection and let's enable the table. Alright. So we can start by pressing Shift a and let's add a cube. We are creating this outer shape, so let's scale it accordingly to the table. Yeah, I think this is pretty good. I spin this down. Next. We can first apply the scale to press Control a, and apply the scale press tab and select this top face. And let's hit this next weekend. Just add a solid. If I modify this to give this a little bit of thickness. I think 0.015 is pretty good. Next, we can just press Tab again for the edit mode is three for Face Select, and select all four of these phases. Now just basically press I to insert them and press I once again to insert them individually. I think till here is pretty good. Now, as you can see, here are like rounded edges. So to create that, we can bevel this, but we are not doubling in this way. We want to bevel the vertices this time. So instead of pressing just control the press Control Shift and B. And this way you will notice you are doubling the vertices and increase it till here. Then you can use your scroll wheel to make it smoother like this. So maybe we can add just two segments. This one is pretty good. Yeah, Now just press three for Face. Select, select this face, this face, this and this. Now, this first X. And then he told the faces, we can reduce the solid if I thickness a little bit to 0.012 maybe. Also enabled even thickness from over here. Yeah, that fixed it. So 0.001 is pretty good. 0.01, right-click Shade Smooth, enable auto smooth from here. Yeah, that looks pretty good in my opinion. Next, we can create some of these small utensils. So let's just select this press Shift plus S because of the selected. Now press Shift plus a. And let's add a cylinder. Again. Scale this down and we will be creating this teapot like thing. So just select the slender and let's select distinct slash to boon to the local mode. Let's see this one for the front view, scale this down, S and Z, and scale it like this. Now what we can do is we can first right-click Shade Smooth. And in a lot of smooth, also makes sure to press Control a and apply the scale. Stab, risk control art and add two edge loops in between like this. Then hit right-click to place them at the same time. S and Z. S and Z and scaled them apart. As you can see, they are not really moving because we have currently set this to individual origin. So change this to bounding box center. And then if you press S and Z, yeah, scaling apart this way. Just scaling them in here. Now press S and scale them outwards. We can just press Control and V and level them like this. Something like this. And yeah, it kind of looks like the shape one liter scale this down. Now to create the top thing, we can just press Tab plus three for Face Select. Let's select this face only press Shift plus D. To duplicate this, then hit right-click to place it exactly over here. And you can just press P and separate the selection. Now if you press tab, you can see both of these are not two different objects. So now we can just select the face that we separated out this tab. Select just the face rescue to extrude it outwards. And just keep on extruding it. I'm just scaling it inwards like this. Extruded outwards like this idea. Here we have this kind of shape. It does not look like exactly same, but this would be like really small in our scene and it won't even be visible that much. Like we wouldn't be viewing it from this distance. So I think it looks fine. In that respect. You can add a bevel modifier. This give this nice little partition that you can see. Yeah, that looks pretty good in my opinion. I will just select this, scale it up a little bit. We're going to go next. Let's clearly these two things again, these tools are pretty easy to create. We don't have to exactly follow the shape. Just add a cylinder again, Let's scale this down to one from the front view, I will first press Tab and they need this top face as x. And the new interface that we have, this hollow shape for our glass shape smoothness and enable auto mode. Let's see, we can create this very simply, this press Tab, this one, and select this bottom loop. So hold Alt and click over here. Then we can just move it upwards a little bit and press Control V. I'm not completely sure to apply the skill first level is selecting this top thing. Bring it down and press E. And you've been opposite to lock it up or textbook listed here and scale it outwards. That pretty much looks fine. You can press S then hold, Shift to scale it like this. I'm going to scale it up a little bit. In my opinion, this looks pretty good. We can maybe see it over here. We can press 74 top view and move it around easily. Let's place this over here like this and duplicate it a couple of times just to fill out the next weekend cleared this another thing. Again, press Shift plus a and add a cylinder. Scale this down. Let's see. Again, I will just first press tab is three for face select. This face is x underneath this. Enable auto smooth and make sure to shade smooth this. So this one kind of have like an edge loop in between this way. So press Control or add edge loop over here. I'm scaling this down. I don't really understand this shape, but maybe it is like flipped. We can just create something like this. Press Control R and one over here, scale it up. You can just select this and divide it out a little bit, smoothing the shape. I'll scale this down. I would say this pretty much looks the same. Maybe it is flipped so we can just press Tab, select the top loop and press F to fill this. You can see a little bit of shading issues or press Control on and add a bunch of edge loops over here. Again, I can just press Shift plus D, seven fourths plus Shift plus D and just paste them over here. They're scaled them up a little bit. Alright, I'm pretty satisfied with how this looks pretty slash to come out of the local mode. This is pretty good. I think we have this model incense burner also. So maybe I want like create a separate one for this because again, it is like really small if you put zero on a number, but you will see the camera view. You can see how small they actually look. We don't really have to spend too much time on this. I will just select this one only redshift plus D. Duplicate this. Right-click to place it exactly over there and just press G to move it. And I can just scale it up a little bit. And this wouldn't be like incense burner. We can just give it a separate material substance painter, that it wouldn't look different. Maybe we can scale this up a little bit less controller and add edge loop like this. I think that's good. Let's save and we can just select all of this. Make sure to de-select the table. Or we can just turn off the table for now. Now, just select all of this and let's see, we can press M and move this to a new collection. And I will just create the collision by the name of drops it. And yeah, we can just keep all the prompts in here. You have this raises the problem set. Let's see next week. Thank you. There are a couple of things that we can do. We can mimic a lamp. I will not be placing the lamp like this as we have in the scene, but I will read like a small lamp and maybe place it on the table or maybe place it over here on the shelf. We can also create even see these blades like thing to add. Or we can also create a small threshold. There are a couple of things that we can do. Alright, so let's see. I will start by creating this breath-hold only because it is pretty easy to do. If you will look over in the course files and in the reference images folder, I have added this rush to animate that we can use as a reference. So that would be really easy to do with this image. Alright, so let's just disable everything. Press one for the front view. We can brushes plus S goes towards origin. It goes right over here, press Shift plus a, and let's add an image reference. Let's add this reference image now. Definitly scale this down. Now we can just basically Redshift a side plane. This plane by 90 degrees, enable X-ray and this makes sure to place it accordingly on both sides so that we can use the mirror modifier. It does not really have to fit perfectly. But as you can see, currently, both the edges of the plane at the edges of the reference image also. So now we can just press Tab, press Control R, group in the middle, it right-click and just delete the side vertices. Left side. I'm mortified over here. Let's see. We can dislike this. They're selling these tools of this X and delete the word seed. This word is C plus E, then X to lock it over here and extrude it. And now let's just quickly paste this image. Select this vertices as G and Z, or Control and snap them together. Like this. Not even just select this one. Make sure to enable flipping first and press G the next and joined them over here. Staph aureus, it'll select everything. Then you just press F to fill out the phases. This image backwards. And just add a solid if I modify to give this thickness. Sheets mode enabled auto ship, apply the skin. All right, now I have a shift plus s goes to the selected press Shift a. And let's add a cylinder. Scale this cylinder down. Here. Let's scale it up. Sit in the middle of the sculpting, shapes, mood, and a lot of sports. We can add a bit of details if you want to press Control R, add one edge loop over here. Add one over here. Select them both their scale, the amount that's controlling V and Bevel them. Make sure to reduce the segments. Now we can select the loose in the middle. First row is true for Edge Select and make sure to just select these two edges like this. Risk and roll them out. You can reduce the segments, do one only. Then just select the segments In-between. Hold Alt, select this, hold Shift and Alt select this scale, this out. I'm creating something like this. Again, enable X-ray and we can do similar things over here also. Don't have to create this one exactly and scale it down a little bit from here. Now just add a couple of edge loops over here who give them a bit more detail. So select them all. That's going to be an ion that looks like this. And just select the beveled in the middle. Scaling them out. Make sure to select individual origins. Yeah, now they're scaling properly. Also, let's select these two press control V again. I think we did not apply the scale. That's why the bevel is kind of weird. So first press Control E applied escape. Now select both of the loops and immediate and scaling them outwards. I think this looks pretty good in my opinion. Not that great, but this problem be like really small. So we don't have to worry too much about this. We can add one edge loop at the bottom. Press three, oh Lord. Sixth room. This outwards. There's three full face select and hold Alt. Select this complete loop, press Alt plus e and extrude faces along normal. Now we can just duplicate this completely. So select this, add a mirror modifier to this. Select the middle object and this. And yeah, that's pretty good. We can add another cube. So select this press Shift plus SQL to select it to bring the gospel here. Either cubes in this town. I'm now creating this part over here. Scale it up like this. Now just press Tab, press Control. Act two edge loops. It Right-click and scale them both on the y-axis progress S then by make sure to change that bounding box them outwards like this. This triple Face, Select and select these two faces and extrude them downwards. And yeah, that's fine. Again, are the mirror modifier to this. Select the middle object as this is pretty simple, we can just, I do cubes. So add when you first scale this down, scale it up like this, and we need to create this thing over here. Now, just duplicate the bottom thing. I don't have to like read this exactly accurate. I think this image is also pretty nice. We can just shift they add a cylinder, scale it down, rotate it on the eggs by 90 degrees. I'm pleased. Dislike this. Create these hangers. Shear smooth. This again enable auto smooth. Now just start to add a modifier to duplicate it a bunch of times. Maybe five times is enough. Yeah, that looks pretty good in my opinion. So I would just hit Save on this, select all of it, and move this to the Project Collections. Press N and move this to prop set naval back to Professor collection. And first I will select all of this before doing anything. I mean, especially if they add an empty object. And now just select all of this. Makes sure that empty object is the active selection. Rests right-click. Now I'm painting an object so that you can easily move these now. Enable the writing table, and let's just place it on the table. Make sure to select this empty and place it over here. Obviously this large compared with the demons scale this down. This one is pretty good. Again, you can see this really small. Next we can add some brushes to this to give this a little bit more detail, I will select this image, press M, and move this to the reference images collection. I think this image is pretty good for this lecture. In the last lecture, we finished with the project. We can utilize a couple of these plates. We can create the lamp and we can add these brushes. And yeah, that would be pretty much it for our process. After that, we can start with the texturing of all these prompts and then place them in IRC. Alright, so I think this is it for this lecture. Thanks for watching. I'll see you in the next one. 30. Creating the Lamp and More Props: Hello and welcome guys. So let's continue making our broth. Now, I will open up the reference images folder and let's see what we can do next. There are a couple of things, so let's start by creating these small brushes. I think it is really easy to do. And we can add them in art. Brush stand over here that we created in the last video. I will press seven for the top view. Let's disable everything for now. And we can select this empty and move this to the problem set collection only. So press M and move this over here. There's disabled. This also. Press seven for top. You press Shift plus S because the world origin shift a and let's add a reference image. Brushes reference image. That scheme is down. Alright, so it is pretty easy to do the shift D. Let's add a cylinder. Scale this down, rotate it by 90 degrees, like this. Given this down again, scale it up like this. Let's scale it in here only. Then we can basically just duplicate this best x, lock it over here, then scale this down like this. Just so all of these objects are different. We can also like created in a single one only and extrude all the parts. Over here. We can select the cylinder only and extrude all the radius, but it would be kind of difficult to texture. That's why I'm creating completely separate objects that will be easier to like texture in Substance Painter sheets, moon, this enable auto smooth. Select this Shade Smooth, and enable auto smooth. I spent seven again for top view. Next let's again select this, duplicate, this press X recipes, this one over here. Began enable X-ray. Bring this back like this, and scale it up. Pretty simple. Shear smooth this one again, a lot of smoothing. We can suppress Th2 for intellect hold Alt and select this age press Control and V. Make sure to apply the scale first. Then we can just beverage it out like this. And now let's just create this brush part. We can again add a cylinder only I think on the Bible and 90 degrees. Now just press Tab enable X-ray, select all these vertices to this, place them over here and scale them down like this. Yeah, that's pretty good as this will be really small. So we don't have to like create everything accurately. I think that's pretty good. We can now select all of them and then just press Control plus j could join them so that they are a single object only. Yeah, that grid is really easy. Let's create one more brush. And yeah, that would be eight. So again, add a cylinder, scale this down. Rotate it on the Y by 90 degrees. I'm skating like this. Again, duplicate the cylinder plus x plus this over here. Scale this down a little bit. Then they start to go into the Edit mode. Press three for Face, Select, select this face. I do insect. And this extruded outwards like this. Create this sort of thing. And you can select them both, right-click and shade smooth and also enable auto smooth for both of them. Again, select this duplicate ECS, paste this over here. Make sure to enable X-ray first so that you can select everything and place it back over here. Next game, this will now look like this. Again, scale it up like this. Press tab has been thoroughly apply the scheme. And then we can just label this edge out this next week. And again, add a new selector. It's scaling this down. Rotate it by 90 degrees, and place this over here like this to enable X-ray. Select this and place it like this. It didn't down this one out. Yeah, that's pretty good. I think. I can just right-click and shade, smooth this out as mood. Again, select all of these species. Then press Control J. We join them. All right, I think is pretty good. We can select this reference image, press M, and move this to the reference images collection. Let's enable the prop set collection. Select them both. And first rotate them by 90 degrees like this. By -90. Then rotate them on the zig and zag and type in 90 and just place them like this. Obviously we need to scale them down. You can press the dot key on the number pad to focus on any of the objects like this. Bring them back over here and just place them, select them both. And we need ways to mitigate this. Instead of duplicating them right now, we can duplicate them later on after texturing so that we only have to take these two and then we can just easily duplicate them. Right now, duplicating would be like a hassle because if you duplicate them, then we have to take all of the duplicated copies. Let's just keep it this way only afterwards we can duplicate them. When we are done with the texturing. Let's see. Next I will open up VR range, open arsine. And if you look over in this reference image, I think we have this kind of lab. So I want to create something like this. So next let's do that. First I will select these two, press M and move them to the proper set collection. Alright, so I have added a reference image, so breastbone and add the reference image. So press shift the image reference and add this lamp reference image. So this is like a full-blown large lab, but we won't be creating something like that. But this is something like this. But I don't want to add something like this. I just want to add a small table lamp. So let's do that. What we can do with, I think it is really easy. We can create specific parts from this lamp. Like we can create this thing over here, the designer mode, and we can add it over here in our small lab. So let's see. First let's add a cylinder listed over here. Scale this down. Scale it up to here. I think this fine. Shift plus S goes into selected. Bring the cursor over here, right-click Shade Smooth and autos food. I will add a new cylinder. This down. Scale it up like this. Place one at the bottom, also like this. So just select this again, duplicate, shift and place it over here. Let's make this one a little bit larger. Select them both, right-click, Shade Smooth and enable auto. Select this top one, scale it down a little bit. Press tab, and select this top loop, press control, beep and bevel it out. Make sure to apply the scale for us. Tab is controlling, apply the scale. And then we can divide this out like this. This one also first let's auto smooth and we can just simply add a bevel modifier to this. Applying the scale. Let's create this top thing. So I think I don't want to go for something like this. Like this is really complex. I will just simply add a cylinder and let Z scale this down. Scale it up like this, it over here. And we can create something of this sort. So what we can do is first let's shade smooth this and enable auto smooth. This DAB is to select and hold Alt, select this bottom loop and scale this from the bottom like this selected dog loop, I will move this down a little bit. And now we can just apply the scale first and then select both of the loops. So hold Alt again and select this. Then you can hold Shift and Alt and select this, then press Control V and Bevel them out. I think that's pretty good. Next, I will just simply created this thing over here, just to add a little bit of more detail into our lap. Just press shift D. Let's add a single word. So at a single word, you can press one for us to move into the word select. Then you can move it around. As you can see. Let's place it over here and erase this out. Not that difficult. We have done this quite a few times now. You don't have to be like perfectly accurate because as this will be really small, we just quickly trace it out. Hello phone over here like this. And then we can just basically connect these two and press F. You join them all together. Press Tab risky to select everything. F to fill out the space. And then we can enable excellent staff or the edit mode and in risky for the knife tool, if you remember. And let's just use the knife tool to create these inside shifts. Let's show him this over here. Hit enter. To select this face. This face. Scale again. Go into the eight mode best game. Again, just using the knife tool. Students this one out now, hit Enter and delete this face. And yet we are done with this design. Now what we can do is basically just select this one for the front view. And let's place this over here. G and move it over here. Scale this down. As you can see, the origin is not placed correctly. So to place the origin of the object correctly, you can just go over to Object set origin and origin feature matrix. As soon as you do that, you can see the origin point is now over here. Scale this down and paste this like this. Yeah, I think it looks pretty good. We can add a solid if I modify to this. Shade smooth this, and enable auto smooth. Now just use the mirror modifier. Like Why. Select the middle object. And we can say that this thing. And we can maybe select this again and duplicate this. Rotate this by 90 degrees, like this. Change the middle access to y and disabled the x. Okay, We need to rotate it again by when 80 degrees like this. We can place your feet like this also. This wave looks really nice. I think. We have like a small lamp. We can scale it down a little bit if you want to. Let's just place it on the table and then we can see if it looks nice or not. Just hide the reference image for now. So first edge, select the lamp, one for the front view. They see it over here. So I think it looks all right. We need to just decrease this thing. So let's just select these two press Tab enable X-ray and bring them up like this. And we can select all of it and bring it down. Also, if it does not look that good, we can always put it on the shelf to fill out things if you don't like it on the table. It can be a nice addition to our theme. I will maybe select this thing, select this and rotate it completely suppress our than x and rotate it by 100 degrees. Place it like this. I think this looks much better than x. Then y, and rotate it by 90, odd and y and rotate 90 degrees. I think it looks nice. Let's save this. I will select all of these pieces. First, let's disable the table. Select this cylinder pressure plus S Go to be selected. Let's bring in Mt. Now just select all of them. Make sure empties the active selection, right-click, Parent and object. All right, Now we're going to select all of it, press M and move this to the project collection. This edge to bring back this reference image, select this press M and move this to the reference images collection. So let's come back to the reference images folder. And we have, I think pretty much created all of this stuff. If we want, we can create these very simple looking blades to add into our scene. I think that would be nice. So let's just create them like that. Only subtle shift plus S, because the world origin, we can start by simply just adding a stab risk F to fill out this. And now we can just press I to insert this. Move, this downwards like this. Before moving downwards, Let's press I once again to create another insect and then move this down. Like this. Scale it inverts. And I think that is pretty much looking like a plate. Right-click and shade smoothness. Enable auto smooth. Let's move this down. Press Control R, add edge loop in-between. Move it up like this. Applied a scale first, Risk Control V to bevel this out. Hold Alt, select this loop. You can best G2 times to move downwards like this. Then we can add another bevel. And lastly we can reach tab. There's three for Face Select, select this face, press control V again, and bevel this out also, just to create a little bit of smoothness. And I think this looks pretty good. We can maybe scale this inwards a little bit. Yeah, that looks nice. Lastly, I would just add a solid if I modifier to this scheme. And yeah, that looks nice. I think we can enable the big shelf and just place it over here just to see the scale. Rotate it on the y axis by 90 degrees, scale it down. And we're going to place it, something over here like this. Yeah, I think this size is pretty good. Let's disable the shelf. We also have like a small little stand for this rate. We can create this very simply, select this press Shift plus S because of the selected. Let's see, we can just add a cube. Maybe. We can clear simply something like this because it won't be visible from far away. They can definitely get away with something like this only. I think I'm pretty happy with this color just selecting this cube or smooth this and enable shared smooth. We can just join these two. So select this and like this press Control J to join. And maybe we can duplicate this press Shift plus d y and place them both like this. Just so we have two different blades. And now we can just select them both and press M and move them through the prostate collection. Enable this. And let's see. Now we have a couple of different props. We have the probe set and we have the races. Now we can definitely add all these prompts into our scene so we can start by texturing all of them. We will move that to unwilling it and start placing them. Watching. I will see you in the next one. 31. Texturing the Props: Hello and welcome guys. So in this lecture we will UV and wrap up rocks and export them to Substance Painter to start with the texturing process. But before that, I just wanted to create a small probe that I forgot to make in the last lecture. Quickly just open up your list and we can right-click and load RC. If we zoom into our main reference image, you can just double-click to focus and zoomable here. In this vase we have these scrolls, so we can add that to fill up our ways. I will also create them. You can just select the waist press Slash to go into the local mode. And we can just create one of them and we can read around, duplicate them in unwilling giant Redshift plus a, let's add a cylinder, the cylinder down. I think this much thickness is pretty good. Right-click and shapes move this and enable auto smooth. I will again select this cylinder only redshift plus S, Because if you selected and again add a new cylinder for these top pieces it down and move it up over here. Let's see. We can read anything we want. We can just select this cylinder. This DAB is three-phase select. And first insert this like this. And then extrude it upwards. Extrude distinct yet add another digital thing he had three fold art. Select this complete loop now resolved plus e and extrude faces. A long novel. Right-click Shade Smooth. This enable auto mode. Estab, enable X-ray. And I will just decrease the height of this a little bit. Yeah, I think this looks pretty good. We'll just select this now. Go to the modify and add the middle modifier and select the middle object as this cylinder. And now I will just say the z axis, I think the duplicate them. And yeah, I think this looks pretty good. I'm going to select the cylinder and this S and Z. Use the height of it a little bit, like them both and move them downwards. Alright, so I'm pretty happy with this now a slash to come out of the local mode. Select them both. And let's just place it over here like this. And now we can finally start with the texturing. I will select these two and press M and move them into the project collection. All right, now we can create two separate materials, one for the basis and one for the prompts, so that we can picture them separately and easily. Alright, so let's see. We can first risk a to select everything, then press F3 and searched for it, convert to mesh, hit Enter, and now all of them have their modifiers applied. Next, we can just add materials to them. So let's select this face, go over here and add a new material. Let's rename this to basis. It Enter and now makes sure to just selling only the basis to hold Shift and just select all these basis. While this large list is there. Active selection. Now we can press control plus L, link the materials. Alright, so now this material is being shared by six different objects. And as you can see, we have six faces. I would just disable the VCs collection now. And let's edit any of the object being new. And let's add a new material as Rob take a to select everything, then you can just press Control L, L link materials. Alright. I will also select both of these plates and just rotate them so that they are like straight and not really on this angle. It is a little bit easier to picture them. So just type in 90 over here for both of them. Also, there is a nice little shortcut that I want to share with you guys. Let's say if you have selected both of these objects and you want to make the same change to them, like you want to put in 90 degrees over here, but only one of them gets affected. And that is the active selection. So you have to do it two times, but there is a shortcut for this. You can select them both. So you can click over here, type in 90, but before pressing Enter, just hold Alt and then press Enter, and you will see both of them get effected. So this is like a really nice shortcut. It can be used on any kind of setting. Like let's say I want to disable auto smooth for both of them. Hold Alt and then click over here. And you can see both of them are getting effected. This is like a really nice shortcut. Alright, now I will select these and we have added the material so we can start with the UV Editing. Let's just close your rib for now. Go to the UV Editing tab. Let's just select the project first. So press a to select everything, risk and growling and make sure to apply the scale. Then press tab with a rescue your smartphone project and hit Okay. Adjust the island margin so that everything fits properly. Yeah, now you can see everything is really nice. That's fine. Press Tab again. Estab now disabled the props or collection and enable the basis one. Again, press Control, apply the scale first, then this tab, there's a deselect everything. Then if you just press U and smart TV, budget it, okay. We can add a little bit of margin and I think the uv maps are fine. You can come back to the layout tab. Now just enabled, both of them select all of this. We'll do File Export and it is Vx. And I will just name it as profit one. Enable the selected objects and mesh hit Export. Now we can just simply open UP Substance Painter. Okay, One thing that I completely forgot to do is we need to check for the face orientation. So enabled face orientation. And as you can see, most of them are fine. All of these vases are like hollow, so they will have like red color on the inside, but you don't have to worry about that as you know, we can fix that in unreal, but this one we have to fix. So select this press Tab. This isn't select everything. Press Shift plus n, then enable inside. And yet all of the bases and the glasses will look like this, like read from inside because they don't really have any thickness. But we don't have to add the solid if I modify it to them, we can keep them this way only, it is fine. Next we need to select this one, this tab. Select everything. I'll press Shift plus n. This one also select everything by Shift plus n. Now we're good to go, so we can press a again disabled face orientation over to File Export. It has vx and just select rob set one and hit Export again so that it gets replaced. Alright, now we can hit Save on a blender file and come back to substance painter. Let's close this and create a new project. It on Select and select the proper set one. Select the proper set one from here and hit Okay. Let's quickly look through for any kind of issues. You can see the vases look very weird in substance painter. But don't worry, we won't have this issue in Unreal Engine because we can just enabled two-sided over there and it could be fixed. But if you still want to fix this issue in Substance Painter also, it is not really a problem. But yeah, if it looks weird, you can fix this they easily just by going into the shader settings over here. And we have this ASM metal roof selected. So click over here and just hover over this one, I think. Yeah, BBR, metal roof with alpha blending. So make sure to just select this one. As soon as you do that, you will see, yeah, Now all the bases look like they look 3D and we cannot like seafood and now come back to display settings. Let's fix the colors first and also enable distinct temporary anti-aliasing. Enabled color profile and select the profile as you before. Alright, we also have materials, Rob said, and vases. And now we can just go to texture set settings and hit big mesh maps. The lady said this to fork a neighbor. Both of these options just quickly do the usual settings and hidden based electric textures and wait for it to finish. I'll resume the video when it's done. Alright guys, so the beak is done now hit, Okay, and quickly just look through your model for any kind of issues with the big and you kind of like shading issues. But I don't think there are any. Everything looks pretty good to me. Now we can just save the file before starting picture. Just hit Control Plus. And good at that entry. And let's just save it as props it saved. Now we can start with the texturing process. So you can start by taking a basis. Let's just select the racist XY set from over here. Come back to the Layers tab and we can delete this layer that is added by default if over here. Alright, so now for the basis, I will be adding a marble smart material to them. If you come over here into smart materials section of the shelf and search for marble, will find these three really nice material so we can use all three of them differently on different basis. So let's just drag and drop this one first. Marble, find y. And you can see this one, it looks pretty good. We can click over here on the geometric mask, right-click exclude all. And let's just select this one first. We can select this one also, I think. Next I will use this one, a marble polished. Again, drag and drop it over here like this. You can see it appears over all of them. We can adjust that by using the geometric mask. Also, one more thing that I do want to mention is if you open it up from here, you can adjust all of the things like the base color. As you can see, you can adjust the base color to anything you want. You can also. And do this and see all these veins, like all these blood veins that are appearing over the marble. You can also adjust them by selecting the mask, then selecting the failure. Then you can adjust things like dialing. As you can see. I think this looks pretty good. You can adjust the balance and contrast all those things. This material is completely customizable. Now again, I will click over here, right-click and exclude all. And we can maybe select this one and this one. Select this one and this one. Next, we can drag and drop this third material onto our bases like this. And again, if you open up the material from over here, you can also adjust all of the things of this one also like the color, things like the grunge, the marble veins. I will also adjust the marble veins right now, select the mask, select the failure, then you can increase the tiling. I think if we increase the tiling, it looks very nice. Then we can click over here, right-click exclude all. And let's see, we need to add it on this one and this one. We can also create two completely separate materials like let's say, I just first remove it from here. So let's just remove from this one so that only this space has this material. Now I will select this folder, complete folder, then duplicate it. So press control C, control V. Then you can click over the geometry mask, right-click and exclude everything. And let's just select this one. We can create a completely different marble material just by things like adjusting the marble veins to something else. Like we can increase the number of degrees, that number a little bit. We can change the color also. Maybe let's say something like this. As I was mentioning, it is completely customizable, totally up to you. Just set up bluish color. And also j, this color variation. I think something like this looks pretty good. We have a nice little variation with all our bases. As you can see, you can completely customize these materials however you want. So I won't be like spending too much time on it. You can definitely experiment with all these settings. So now let's just move forward and move over to the prop sets, select the props that there's remove this layer. And we can first start by texturing some of the very basic stuff. So just add a fill layer. And we can create a simple porcelain material for all these glasses. So just give it a white color and give it a roughness of 0.05 to make it like really shiny. And you can see, click over here, right-click, exclude everything and just select these glasses. I'm displaying also. These glasses are like kind of flying. I think we did not place them correctly and then we'll do that later on. I think this looks fine. And as you know, this prop is like really small. It could be viewed from this much distance. So it does not matter that much there. We can keep this material only just give it a white color and make it like really shiny. By reducing the roughness value. For this thing, we can just simply use the wood material that we created for our course. Drag-and-drop the word course material. Wait for it to load. Click over here, extrude all and just select this. You can also use the word course material for all these items. Select this, this, these things over here, this one, this one. And plus one. Now what we can do is we can change the color of this wood course material to maybe a bit lighter or darker, just to give it a little bit of variation to the rest of the materials. So that does not look the same. Like this maybe. Yeah, I think in my opinion, this is pretty good. It looks fine. Next we can proceed further. I will also select this posterior in our material for this thing also here, as you can see in the reference image also it was white from over here. We will make the nth black. Next time we'll search for a bruise material or a go-go material, I think for this thing over here, or incense burner. Because in the reference image also it was kind of cooperation, brownish color. So just drag and drop this bronze armor material over here. And I think this looks pretty good. The bronze material looks pretty nice even on the utensils also. But let's just keep it in here. Only click over here, right-click exclude all, and just select these two. Next, let's see. We can simply add a fill layer, make it black. And then click over here, right-click, extrude everything and just select these two pieces. And this will be our scroll. Pretty easy. As you can see, we do not want to spend too much time texturing all of these rows because surely they will add a lot of value and detailed version, but also they would be like really small and not really that much, no disabled. So we have to manage their time properly and just keep everything nice and quick. And the only things that are remaining are these plates and the brushes and the lamp. So I think what we can do is we can use the porcelain material only for the plates. And as you can see, because these two objects, like these two were a single object only That's why the geometry mask is not really working properly because it is being added to both of them. So what we can do is we can just remove it from both of them. And instead we will just duplicate this layer. Press Control C and Control V. Right-click and include all. And instead of using a geometric mass, we have to use a black mask. So add a black mask to this. Now, select this tool, select the Nashville from over here. If you remember, make sure that those set to white and select these two. Like this. Very simple. Because we only want to add the material to these two only. We will add something else to the bottom ones. Alright, let's see Next for the lamp, we can basically use simple fabric material. Search for fabric. And we have lots of nice fabric materials. Maybe I will go in this one only fabrics and technique. This gives us a nice lamp feed. What we can do to adjust this is go over here and select the surface, select the mask, and just increase the tiling so that it is really small all the circles this way, I think it will give a nice lamp feet. Let's just set this to 30. All right, yeah, I'm pretty happy with this. These bottom pieces, I think we can maybe just add the wood material only, but we need to duplicate the wood material once again because the geometric mask won't work on them. We'll just duplicate this layer, right-click and include all, and then just add a black mask to this and select this piece and this piece. Alright, so now to texture the brushes, Let's see the resumable here. And I'm basically just open up my reference image only in the course whites. And just look at the brushes that we modeled. Double-click to open them up. I will just place them like this. We can open up your rough quickly and drag and drop this image into pure ref so that we can view it easily. Just drag and drop it over here. Let's see. I think it is really easy, but we can do is we can just first create a new folder, the name these two brushes so that we can add all the layers over here only. Let's start by adding a fill layer. And we can set the color of this layer to this peach color over here. So let's just open it up. Setting the color to something like this. Click over here, right-click, extrude on. And we cannot really use the geometric mass for this because all of this is a single object. So let's just right-click include all and add a black mask. Quickly. Select this object over here. Next we can add another layer, may dislike darker color. Add another black mask. Select this piece and this one. These two will leak. Then we can add another fill layer, make this brownish color, brownish like dark brown color. To make the tip of the brush. Add a black mask and select this one. And we can also select this one. Then for this one, we can again come back to the black material. Only. Click over the mask and select this piece as the black color because as you can see, this is black. And again and again select the peach layer and we can select the peach color for this object also. And this one, we do not have to like add too many layers. I will select the color for this tip of the brush and make it a little bit more darker. Or maybe a little bit lighter, I think. Let's just go with this only. I think that's fine. It's safe. Quickly lose pure ref for now. Now I think I'm pretty happy with how all my small profit look. And we can finish this lecture or here. In the next lecture, we will export everything back into Unreal Engine and we can start placing our props accordingly and give it a lot more detail. Hangovers watching. I will see you in the next one. 32. Placing the Props: Hello and welcome guys. So now we're back in Unreal Engine again to that we can import our models and textures of the prompts that we created back into our project. Alright, so let's start. First. What I will do is I will go into the models folder, right-click and create a new folder. Let's rename this to Rob. Enter and open it up. Then you can hit right-click again and select Import from over here. Come over to the tutorial directory. And in the exports folder, you can select this prop set one and you put this in bold all alright, so now we have all the models in our scene. We also have this material that we can add the textures too. So let's just select this and select here and drag and drop it into the scene like this. Wait for it to load and then you can just type in zero comma zero, comma zero. And all of the prompts are in their place where we placed them in Blender. We can adjust them later on. As you can see. We can see through the vessels right now. But let's just enabled two-sided for the materials, for just open up this material and enabled two-sided, you can select this big node and enabled two-sided, safe. Wait for it to load this up, then you can sell it the VCs Material. Double-click to open it up and again enabled two-sided. It's saved. And now as you can see, everything is looking pretty good. It is looking 3D. So let's see. Next we need to import our textures quickly, open up your substance painter, and open up the file so that we can export our textures. But before come back to and engine, we need to create a folder over here for our textures. To open up the textures folder, right-click, create a new folder. Let's rename this to Brock. Say they kinda come back to the lecture folder. Select the project folder, right-click, and select showing exploded. After this has a beard, then you can just copy the bot from over here. So select this part that's controlling and press control C, to copy it up. In close this now and come back to Substance Painter. Now, just press Control Shift N E to export the textures. First, we need to change the output directory. So click over here and click over here, press Control C, and then hit Enter. Make sure to hit Enter so that we are in this prop set folder, as you can see, then hit Select Folder. You can then select the output template as Unreal Engine for PAD file type can be set to eight, which is 23. And sizes for k, we can just hit Export and wait for it to export. Alright guys, through the export is done. Now, hop back into Unreal Engine and again it in board over here. But that all textures get into the project. Then we just need to wait for them to finish. And as soon as it has done, we can start placing our textures into the material. Now you can just open up the project folder and see the import is done. So we can come back to the models folder, open up this trough, sit, and open up this material. Next full screen this, and we can delete the default node to select this and hit Delete, press control space to bring up the content browser. Now in the broth that folder, make sure to select the remedy hills are the three textures of the problems. Set material, drag and drop them like this. First we need to connect the base color to base color. Then you can connect normal to normal. And if you remember, this is the bat textures. So I goes into ambient occlusion, g goes into roughness, and v goes into metallic. And you will notice everything is really shiny. So we can just select this texture. Double-click over here, disabled SRGB. And also j is a sampler type two linear color. With that, everything is done and we can just hit Save. And we can look over the changes in the main 3D editor. Let's just wait for it to finish here. Now you can close this and you can see the texture has appeared over r objects. All right, so now we can add the textures to our racist. So open up the basis material. Now double-click to open it up. Let's again remove this default node, restaurant food recipes. And now these two textures rob them. The neck, the texture, base color, then this one to normal. Occlusion, roughness and metallic. Open up the texture and disabled SREB and change the sampler to linear color. All right, so now we can close this and see if everything is done. You can see all the changes have been made and they are added to our models. And yet now you can see all the lectures have been added to the material and they are started appearing on our models. So now what we can do is we can start placing our stuff accordingly. Let's see. We can start by selecting this. Make sure to set both of these objects. And now you will notice that it is really difficult to move around these objects because as you can see, the 3D gizmo is appearing over here very far away from the object. And it can be a little bit tedious to place them around. So for this one as they are two different objects, like one of them is this one, then this one. Then we can just hold shift to select them both and then press Control plus g. And you can see now it is very easy to move it because both of them are now grouped together. So we can easily place this over here. Now let's just rotate it like this. And you try to place it inside the waste. 33. Finishing Touches and Taking Screenshots: Hello and welcome guys. So now let's continue placing our props in our scene. And as I mentioned, we will be using Quicksort bridge now to place some extra props and are seen to increase the detail level. So you can go over here and select books that bridge bit for it to open up. And it is completely free to use with Unreal Engine so you don't have to worry about anything. So as soon as you open up, you will see that you can use all these materials, all these 3D assets, plants, decals, anything for completely free. You can select all different categories from over here. So now we can start by adding a couple of plants on our stool. So first let's search for a simple bot type in what?