Splines basics in 3ds max and interior design practical course for beginners

1. 1 Introduction to splines: Hi everyone. My name is Alan and I work as an interior designer for more than ten years. I'm using Freds, Max, and V, ready to create my renders. And I would like to share with you my experience. Since Freds Max is quite a big program, I've decided to create courses on separate topics. And in this course I would like to talk about the most important part of creating almost everything in Freds max. We will talk about plants. First of all, this course is for beginners to start. You will need the minimum knowledge how to navigate in pre DS max about the rest we will talk in this course. Since I'm an interior designer, I think that the best way to learn and apply it's by practice. That's why this will be a practical course divided into three big parts. In the first one, we will talk about theory. First, we need to understand what are the plans, why they are the most productive way to create your projects. We will talk about every single instrument. And by the way, suppliants got quite a big palette, but you'll have to know how to use them if you intend to create three D projects. We will talk about what is the supplant vertex, their types, how we assign volume and renders plans, how these plants appear and look in our images. And step by step, we will get to the second part. In the second part, we will talk about the question that bothers all those who work with real projects and dimensions and are trying to link all those projects into one piece. We will try to understand why Plants and Max got no dimensions and why they are usually imported from arcade. Mostly we'll try to create using suppliants from real sketch interior walls in order to understand the principles how to create interiors. They will be like a small practice for those who are in interior design field. We will try to understand the logic, why we are not using Freds max from the start when we try to create our real projects with real dimensions. But rather like a studio where we bring our ready structures and where we assign volume and create cool Fred renders. We will raise interior walls. We will create a photo studio so we can get used to the principles, how we obtain photo realistic light materials and renders. And last, the third part will be our practice part. We will talk about what is perspective and about the principles, how to model. We'll create some Fredy models. In the end, they'll be our homework. And the fact that you'll be able to create and render them, we'll show that you understood the previous theory part. And this course material was applied into practice. Being like a final stage of showing your skills that you've learned. By the way, I encourage you to upload your results. First of all, you'll be able to compare them with other students and at the same time they are quite a big work motivation. Well, let's get started. 2. 2 What is a spline?: In mathematics, Applying is a special function or a mathematical representation used to design and control the shape of complex curves and surfaces. I won't get further with complicated definitions. For us, this is enough. We will focus on design tasks. I created this course from the point of view of an interior designer, as this is my main activity in direction using Preds Max. This is a very complex software and a lot of users treat it from different points of view. It depends what you are trying to create, Same tools, but different approaches, and different logic of what you are doing. And your final result, which shows, by the way, visually, what is the core of you are doing. If we talk about creating interiors, of course we need some advanced tools to create them. Spliance are the perfect tools for this. We must point out a very important thing. Before we get into spliance, we must understand our movement map or our general plan. There are different ways to create the same things in Freds. Same principle applies in other fred software, but we talk about Max. When you'll see the final result, you won't be able to tell which method was used, the result counts. But you can do this slower or faster. It's up to you same result, different timing. There are five levels of modeling. Anything in Max. If you want to focus on modeling skills, you will need to pass all five. It will take a few years, but if you want to have time for other things such as developing your interior design skills, for example, I call this the brush problem. By brush, I mean any three D software or three D tools. When you learn and develop the technical side, you learn the tools, you learn advanced techniques and so on. But when you face a real interior task in a client, you don't know what to do. Technically, you are ready. But the problem is not the program, you may know it at a perfect level. That's why I suggest for interior designers, of course, if someone loves modeling and he feels that this is the only thing he would like to develop, it's okay. But for interior designers, as I said, I suggest a complex approach. We learn a bit of modeling, a bit of rendering. We learn how to develop an interior project and so on. We don't focus only on one direction. We need to obtain the skill of full interior design process, meaning from starting an interior design project up to finishing your job as an interior designer. If we get back to modeling, we won't need all five levels. The first three will be enough. You can always get back and develop that after your full interior process is already working suppliance at the second level after standard primitives. In this course, I'll try to show my method of learning suppliance. 3. 3 Let's start from the START: Let's start from the start. In this course we will start to learn suppliance from the start. This will be very helpful especially for beginners and by the way, the version of preds max does not really matter as the principles remain almost the same. We will try to reveal an overall image of the spliance tools and they're using free DS max. But we will focus mainly on interior design tasks. As I said, there are different ways and methods obtain the same result. Suppliants are very complex and a fast way of doing that. You can build, for example, the walls of your interior project using simple boxes. But it's a lot easier and faster to build them using suppliants. Although the result will be the same, timing counts. First of all, before we begin to use plans, we must understand the final result we are trying to obtain. This is one of the most important things. We have to create a movement map, like a general plan of our future steps. Suppliants got their own different methods when it comes to applying them. I'll try to explain this logic in this course shortly. We can say that the way that we use them linked to at least level three of modeling, which is the polygon level, as plants are just shapes without volume that will be sooner or later converted to volume. That's why our future result tells us how we will use them. By the way, you can use only level two and level three to create interiors. This will be enough. I will not count radio, Fred models you will use like furniture, decorations, slides, and so on, as most of them belong to level four. Your job as an interior designer is to choose and combine objects, shapes, colors, textures, depending on clients preferences and style that you use. That's why if you'll get too deep into one direction, you may not have enough time to get to be perfect. Good enough is good enough. And when you finish your first interior projects, you'll understand that you have a lot more to learn than one direction. The final result counts and the way that you deliver it to your client shows your skill level. You won't be able to show it if you don't know the basics, but you don't have to be super advanced in using tools to create it. Getting to technical, it's not bad, but you must remember first you have to be creative. Idea is far more superior. Okay, further with our course, we will begin to analyze pliens. We will pass throughout their instruments. Although I don't really like the idea of help type earning, this is the first button, does this, this is the second one. But I would like to create a full understanding of this plans. We will pass those tools and we will also have a lot of homework, so we can apply that all in real tasks and examples. Before you start to create interior projects, we must learn the tools. 4. 4 Splines first steps: I'll get back to our first question. What is this pliant? First of all, after our first level, standard primitives which are the basic objects and max. Next we have thispliance. I call this the second level. You'll soon understand why spliance and max are also called shapes here in this rollout as you can see we have a few other options including extended suppliance and most important nerves. They are a special chapter in Max, we can create a whole course only on nerves shortly. They are very alike like spliance but they have a bit other principles of using. I won't stop to talk about them in this course. We'll talk only about suppliance. All these are suppliance. Let's try to talk about the first, the most important instrument from here and the most used one line. In the latest versions, we have also another instrument called free hand, which is somehow another form of drawing lines. But let's begin with the line. I will draw a simple line. This is our first line. It is the most simple shape or object with no volume. A line. It's the same line a child draws on his first drawings. The child also has indefinite more complicated lines. He draws them intuitively in mags. They are drawn using this instrument called free hand. We call them lines. In mags, they are called splants or shapes. We also have other splants like rectangle, circle, ellipse, arc, donut, gone, start. It's also a plant and modify. We can write the text. Alex. Usually we use plants in two D more often, but this plants also perform in D as well. We will begin with two D, egg like donut. It's rarely used. We are using rectangle and circle section very useful. I will show examples and three hand which we already saw how it works. Well, all these are supplants. 5. 5 Convert to spline and why do we need that?: I would like to start to explain the first technical moments that are linked to different methods when it comes to using suppliance. I said that first of all, we need to determine the final result. And after that, we can set up our movement map or our future steps. We will continue to talk about this topic. We didn't reach yet some tools so that I'm able to explain that from a general point of view, although it's a lot easier to show that in examples. And we will do that of course. But one of the first steps that leads to understanding those technical behavior of the spliance begins here. The difference between standard primitives which we call level one, and suppliance which are level two, is one of the starting points that sets up our movement map. Let's analyze a small difference. I will model two objects and they will look identically In render, our clients perceive our renders as a whole. We, as designers must break them apart into layers. This is the factor that distinguish us as professionals. When an issue occurs, we must identify the layer it belongs to. We cannot say the whole work is wrong, we correct the issue. For example, it may be a light issue, a material issue, even a model issue. Whatever The final result must be pleasant to our client. When all the layers create a hole that does not bother him, but instead gives him the result he expected, then we can say that we achieved our goal and our job as a designer is done. Of course, we need to work a bit until we reach that level. Now what our client sees on our ender is just a method that we use. The same result can be achieved using other methods. Of course, we don't have thousands of methods, but still there are a few. As I said, he perceives the image of our ender as a whole. For him, it doesn't matter if we use level one primitives, for example, boxes, to build our walls, or we use level two spans to do that faster. All that counts is the result. But for us, this is a very important moment. So first of all, we have renderable objects in Max And objects that are not seen in render splines initially are invisible in our renders as they don't have volume. We can assign volume to them, but in their initial form they are objects. Or should I say shapes without volume. Now I will get to Max and I will model, as I said, to objects using level one method and level two method. And we will see in our render how they look identically and we are not able to tell how they were created. Let's begin with a rectangle. This is our level two object and a box which is level one. All already if we can call them. So objects got parameters except from line. We will get to that in a second important rule in Max, we've got two types of objects, parametric and non parametric. For a parametric object, for example a box, I can adjust the length width and the height and our rectangle as well got parameters. And it is also a parametric object for now. And I can adjust the length and width as our rectangle is an object without volume, at least at initial stage. This will be the only two parameters I can adjust. At this parametric stage, I can assign to our objects rectangle, in this case exact parameters or dimensions. This means that for free DS max, they are recognizable as box or rectangle, well defined objects until they are converted to a free form and lose their parameters function, like a spline or polygon for example, but gain access to other functions and they become non parametric objects. They maintain their dimensions, although I have no access to those parameters after conversion. But technically they transform to other type of objects with new functions. And we will talk about those functions here, interferes our first steps in methods we use. As I said, our suppliants, no matter if they are in initial parametric form, can be adjusted to exact dimensions. Further, we usually modifiers to give them volume so they can be seen in our render. In this case, I will use one of the most used and simple modifiers extrude. It pulls out from a shape volume at a specific height. It's like adding the height we missed in the rectangle parameters like when we created the box. Now in upper panel we can see we got two layers like in Photoshop. On our first layer we got our rectangle. By the way, we can modify the parameters and the whole new object will modify as well. Let's push it further. Let's assign the same dimensions to both objects. For the second object, I will use second layer to adjust the height. By the way, for rectangle, you can adjust the visibility of those layers. As you can see, they look identically. Technically they are different, but visually they look the same. I'll render them so we can see that in render, they got no difference in how they look. I'll assign the same V material. We will use V for this course. As you can see, they look the same. Next I would like to show the difference between a parametric and non parametric object, a level two object. We will continue to work only with them. Further got in the lower first layer a rectangle, a parametric object. Same parameters you can find in other splines, at least initially. As I said, except for the line, the first line from our list. I'll draw one more line and modify. As you can see, we've got other new functions. We can access them by conversion of our splines, like rectangle or circle, or any other spline, but line is a converted spline from the start, you will say, wait a second, How do we assign dimensions to our lines? We will talk about that a bit later when I will show how we model our walls. For now, I will copy our rectangle with extrude. Here we see parameters. I will create one more copy. I will delete second layer extruded for a moment. I will convert it to a non parametric object. You can see five options of conversion. We need the first one only. By doing that rectangle will maintain its dimensions but technically become another type of object with access to new functions. We will talk about them in this course. I'll add extrude. As you can see, we got, again, two identical objects, but they are technically different ones parametric and the other, it's a non parametric object. You may say there are a lot of functions here. Yes, this is the second level of modeling and we need a complex approach to model everything we need. In Max, we will talk about all these tools. 6. 6 What is sub-object level?: Let's talk a bit about what is the logic of getting from a level object deeper to a sub object level, and what is in fact the difference between level one and level two objects. In the first part of this course, we talked about simple objects, standard primitives like boxes and cylinders, and so on. We tried to model some pieces of interior furniture using them to model different details of the furniture, but those shapes were to more simple form. When we begin to take it to a more complicated level where we have details with more complex shapes, we cannot use those level one objects anymore. We need to pass to the so called sub object level. Or in other words, we can say that we enter inside an object and we modify just a piece of that object. These functions were previously unavailable. But in this case, we will need to convert our objects to an editable object, and after that, we will get access to that sub object level. Before we go further, I would like to explain one more thing. This is about the different methods of obtaining our initial shapes of our future objects. It's better to call that. So the level two of creating objects, of course is not an ending for our future objects. In this course we will talk about a more advanced level of creating three D models in free DS max using spans. Some of those objects will have enough details to be ready to be used as a finished three D model. But of course, if you remember, we got five levels of modeling. There are of course, objects that demand even more modeling and usage of level three or maybe level four instruments to be brought to their final aspect. We cannot pass to those objects avoiding level two. But we must understand that when we create a free model, we need to preview the full movement map. Unless there is a big chance of failure, we can get to a point in level three or worse in level four, when our free model is no good because of the way it was created. For example, the mesh is too dense and we cannot use that model anymore at level four. Or it's a lot easier to model it from the start instead of correcting some mesh issues and so on. I don't want to get too deep into that until we reach those levels. I will create courses on three D, modeling more advanced objects. But in this course we will talk about suppliance. I would like to explain some of those moments that we must avoid in level two phase. First, we will learn how to create suppliance work with them. And when we will get to our first models, I'll try to show that in real examples, we already learned instruments so you can fully understand what I'm trying to say. Okay, first of all, let's analyze how Supplian works and what is in fact this sub object level. 7. 7 Splines vertex types part 1: Let's talk about the sub object level when we try to get deeper into apply. In this case, we can get to a sub object level for other types of objects, like polygons for example, but they belong to level three. For now, we will talk only about suppliance. It's very like like entering a building with three rooms. The building is the same. The whole building is like a level one object, but we can open one of those three rooms. For suppliance, we got three subobject levels and polygons got five. We get to a so called sub object level and we access functions or instruments that were not previously available for free. Ds max. While we enter an object, the other objects temporarily are not available. It's like entering a room. And while you are inside that room until you don't get out of the building, you cannot access other buildings, you are inside that object. I'll try to show that. Let's get to Max. I'll select our previous line here. You can see we've got those three sub object levels, vertex, segment, and supply. When I press, for example, one of those sub object levels, for example, vertex, I can access, as I said, a bunch of new tools. We will get through them all. Some of those functions are active and some are not. It depends on which sub level we are right now. While they are linked between them, still they perform a bit different. If I access next sub level segment, you can see that some of the previous tools are now not active and other became active. Same thing with the first sub level spline. By the way, you can adjust the panels if you feel more comfortable seeing all the tools. Now back to our line. Our line got two points. A point in Max is called vertex vertices and one of those points is yellow. This is the first point of a line. Or should I say plying the first vertex is very important. We will talk about that, I'll try to create another line. You can see here written creation method Panel is divided into options, initial type and drag type. I will explain that panel in the next lesson. For now, I'll simply click attention, not click and drag. Simply click to create some vertices of applying. It's called line, but actually it's spin. We can access our sub object level using three methods. If you can see here, I open the word line, which is like a general object or our building, and we see our three rooms or our three sub levels. I can press in this upper panel on vertex, for example, and we enter our first room. Same thing will happen if I press here. The hot keys, by the way, are 123. They will do the same thing for polygons where we have five sub levels. It's 12345. As I said, while I'm working with my line, in this case it's like being inside a room. I must press one more time. Vertex if I'm in vertex sub level or I can press one same thing, only then I get out of the building and I can access other objects. Let's take a closer look at our vertices. As I said, each splyin got a vertex or a point which has another color than others. Usually yellow, and it's called the first vertex. We will talk about that later. This is very important. Here you can see a function called display vertex numbers, and their numbers will appear. Here you can see the yellow vertex is one. It determines the spli in direction. We will use this for example when we will wear on our splines to create volume. I'll show this later. If I will select a vertex, no matter what number, I can assign it one of four different types, sin Bezier corner or smooth. Right now my vertex is a corner type. We can see this function is checked. First, I'll show the difference between those types. I'll create four rectangles. Now if you remember rectangle is a parametric object, I will need to convert it to an editable spline or object to gain access to sub level functions. By the way, as I said line, it's also a span. But being created as a line, I can see here a written line. And my rectangle after conversion lost its definition and became an editable. Now I'll press Vertex so I can get access and select all my vertices of our first rectangle. Usually we press hot key one on keyboard, it's a lot easier. But while we are learning I'll use both methods. It's a lot easier visually to understand. I'll select all my vertices. You can see they are now busier corner type. The type is checked and I'll make them. It's one of the most simple types. It's a straight line between two points or two vertices. It is used for straight shapes. I can create a more complex shape. After that, I can use a modify usually to give that shaped volume. I'll use extrude, one of the most simple modifiers. It pulls a volume out of a shape at a specific height. Here I got now two layers. My spline is layer one. And by the way, I can return and change at any time, any vertex position, this will change the whole volume. Here we have a button show end result. While I'm at layer one level, I see on my screen the layer one, no matter if I got other layers above. But using this button, it gives me the opportunity to see the final layer or the final result, or how my object will look in the end while editing a more lower layer. Now we got only two layers. Very important. We must avoid the intersection of our suppliance in other software, it depends. Usually that kind of object will not be created as it got an issue. S Max will create this object no matter if it has an issue. We will talk more on that. If I delete my second layer or our volume, our first layer or our spline remains at initial stage. Next, let's talk about smooth type smooth. It's an old method to create smooth lines, but they lack advanced control, it's rarely used. For example, I want to create a smooth line from a straight line. By the way, Now you can see while I'm inside my second rectangle, I cannot select our spline until I don't get out of that sub object level or get to our initial level, an upper level object level, and my sub levels are gray and not active. I'll copy or spline, I will assign smooth type to all vertices. As you can see, the line became smooth compared to the first one with corner type vertices which are straight. It seems that this is a useful tool, but in fact it's rarely used. We use usually bezier. Next we'll talk about bezier, and this is quite a big topic. 8. 8 Splines vertex types part 2, Bezier and Bezier corner : Let's talk about Bezier. First of all, I'd like to explain why I divided the first two types from these two vertex types. Well, they are indeed a huge topic and they are the base of all complicated shapes. And not only in Max, if we will try to say this in a simple way, we can say that if any shape that we want to create, it's not straight like corno type vertices, then it will be bezier. What does this word bezier means? A bezier curve is a parametric curve using computer graphics and related fields. A set of discrete control points, we will talk about them, and it defines a smooth continuous curve by means of a formula. Usually the curve is intended to approximate a real boiled shape that otherwise has no mathematical representation or whose representation is unknown or too complicated. Bezier curve is named after French engineer Pierre Bezier, who used it in 1960s for designing curves for the body work of Renault cars. Shortly, this is a tool used to create and control complicated surfaces. We will use them from now on for our Fred models. Of course, we will begin with more simple models so we can adapt and feel comfortable to use them. Let's get back to max. I'll finish the last two rectangles to explain the first steps, how we will use Bezier tools in Max, by the way, not only in Max. Let's start with the third rectangle. If I will select my vertices, you can see that they have green points close to them. These are the Bezier control points. In this case, they are Bezier corner. Because of the fact that they overlay above the rectangles corners, it's not quite clear how they perform. I'll draw a circle. This example will be visually more easy to understand. I'll convertuspline now. As you can see, each vertex has a yellow line and two green points. This vertex itself, it's like our center from where we adjust the whole shape. The green points are like handles that control how this specific vertex is receiving and delivers the shape. It sounds not quite clear but you'll soon understand what I mean. If you remember our spline got direction. Vertex is very alike like a checkpoint for a race car. The car moves in one direction, so does the spline. Depending how these handles are set, we obtain the shape of our future spline or object. Here you can see these handles are now bezier. We also have bezier corner. Let's begin with simple bezier. For bezier, simple type, they are always symmetrical and one handle mirrors the other. I'll try to move one handle and as you can see, the vertex remains on the same spot. Only the shape between two closer vertices changes. We will remain into D for now, same thing works in three D. You may ask why this plane is jagged. We talked about this in the first part of our course, but I will explain this in the future lessons. It's about interpolation. We'll talk about this shortly. If I'll change to adaptive, it will be perfectly smooth. But there are some moments that we will talk about a bit later why we don't use adaptive all the time here interferes our movement map. All this will begin to make sense when we will get to homework and to modeling objects. Okay, back to our rectangle. This vertex for example as the other as well got the same handles but they are bezier coroner second type, while simple bezier is symmetrical, bezier corner handles act separately. They are used to create corner or sharp edges. I'll activate adaptive. Our respline looks smooth. As you can see, all the vertices are bezier corner. If I'll change them to simple bezier, they will erase all sharp edges and will create smooth edges. By the way, this is one of the main reasons why we don't use smooth type vertices and why they lack control. Bezier simple type always keeps the handles at 180 degrees. If you will pull one handle, it will mirror your action with the other handle. One more function I would like to point out. If you can see the shapes is not quite symmetrical. Although we didn't move the vertices, we moved only the handles. There is a function reset tangents, that resets the handles to an initial position. A few words, about three D. We can bring our spline from two D planer editing to a three D spline. We'll have examples when we'll get to modeling. For now, I'd like to point out that we use usually two D projections when we work with splines top. For example, at least we start from two D, and step by step we get to three D. It's a lot easier to show that visually in examples, and we will try this when we reach our homework. This will be after a few lessons. 9. 9 Creation method click vs drag: Let's talk about the panel creation method. I would say this is an instrument that it's not so often used, but still we will have to pass it as we plan to pass all the instruments from the suppliance. We've got a few methods of creating suppliance. One of those two methods is to use click or drag. When we press on, we can see here written creation method. We have two options, initial type and drag type. Let's talk about the first one, initial type. We've got two types, how we can start our spline corner and smooth. This will decide the type of the first vertex. We actually use always the first type corner and it's activated by default. This is the most comfortable method of creating a line. We just click and we create corner type vertices. In this case, our line will be straight and by the way, you can see all the vertices are corner type. Next, I'll change the smooth, all my vertices will be created as smooth type. I'll switch back to corner. Now let's talk about difference between drag and click. The second subpanel is called type. If you remember, I said that we just click when we create our line. If we will click and drag, meaning that we will hold our mouse button, we will get another type of vertex, and the type is written here, one of these three types. By default it's activated bezier. When I click and drag, I'll create new bezier type vertices. I'll select them all and you can see the handles and the fact that they are all bezier. I know that we can use this method still after our homework, you'll understand why we don't use it. Shortly we will use straight lines and then we will assign roundness or smoothness to them. The second type, smooth, same thing as bezier. And the third one corner, it's actually like the first type, it will create straight lines no matter if we click or we click and drag. I'll switch them back to default. I'll show quickly a short example of the logic, how we will use our lines for our future models. First, we draw the straight lines, then we will adjust the roundness of our future shape. Usually we use fill it, We will talk about this a bit later. The logic of this method is we draw first general lines, and then step by step we get two details. It's very like like the logic of pencil drawing. I'll show this in homework. Next, I would like to explain interpolation. 10. 10 Interpolation: Let's talk about interpolation. In the first part of the course, we talked about what is interpolation and the principle of roundness in prides max. There are no round object in preds max. Everything you see it's a number of segments. As I mentioned, the first part is not necessarily linked to the second part. I will repeat myself and I will explain interpolation one more time. We will need this a lot. It's very important for our future models. First of all, let me explain what is the principle of roundness in Phds Max and what is the meaning of the phrase that there are no round objects In Prides Max, I'll create a sphere. As you can see, the sphere seems to be perfectly round, but if you look more closer, we will see that it's not actually so. The edges of the sphere are jagged. I'll create a copy of the sphere in the modify panel. I will check this option smooth. Now our sphere looks as it should. It is created from a number of surfaces. This unchecked option smooth removes actually a function that is displaying the sphere with a smooth transition between those surfaces. This process, it's called interpolation. I can increase and decrease the number of segments and this will impact directly the appearance of the sphere, its quality or roundness. It's affected directly by this number of segments still preds Max will see it as a sphere no matter what quality we assign. If we pass to our second sphere and we will uncheck smooth option, you can see that the Jack dages actually show the number of those surfaces smooth. It's only a visual effect meant to decrease the usage of computer resources. And at the same time giving us, or at least trying to give us the best roundness effect appearance. One more thing I would like to show is how interpolation works with S plans. This fact is very important for our future free D models. I'll create a circle, as you can see, the same moment with the Jack ages. I'll create a copy of that circle and I will convert it to an Editable suppliance so we can have access to vertices. Interpolation tools work between two vertices, meaning that the steps that you see here define the number of those jagged edges. By the way, interpolation works not only for editable suppliance. If you can see here my first object, it's a circle still, it got the same access to interpolation. If I out set the steps to zero, the line between two points becomes straight. That is what I actually meant when I said that interpolation works between two points or two vertices. For Max, this is still a circle. At least he tries to draw it, but it can't. There is no steps. What you see here, optimize actually tells Max to optimize the software resources. In other words, it tells Max, draw a circle at the minimum resources possible. If I will increase the steps to one between two points or two vertices, Max tries to draw the roundness of the circle and it divides that line into two equal segments. In other words, we can say that he tries to interpolate to create the maximum roundness appearance using one step. If I led two steps, same thing. Only now we got two points and three equal segments. By the way, do not confuse those segments with the second level subobject segments. This lines between two points, it's one segment. Interpolation is trying to bend it inside one segment from a sub object level. It's more correct to call that steps. We don't confuse them with segments from subobject level. It was decided that when we reach six steps, the circle looks like a circle. Or at least its appearance, it's very close to a perfect circle. That's why here by default, we got six steps. Now, what about adaptive? If I'll check adaptive, my circle will appear to be perfectly round. You may say why we don't use this option always and it's now checked by default. I'll try to explain this. This is about our different methods that we use when we pass from spine level to volume, or from level two to level three. Let me show you this visualme. These two circles seems to be almost the same, but still there is a big difference. I'll apply a modifier extrude, we will soon use it for our walls and our homework. For now, I would like to show the difference between two objects with volume raised or extruded from plan. With adaptive and simple optimize, you can see visually that the mesh is actually the difference. Those little segments that we called steps, we tried not to confuse them with segments created a more dense mesh. Now here interferes our creation methods if our object would reach its final shape, meaning that it will have enough detail to represent the object that we tried to model using level two of modeling. And there is no need to pass to level three or level four where we use turbusmoof shortly. This is an instrument that creates complicated, smooth fred models. I will not discuss this instrument here, but I cannot pass the fact that the objects that we create here on level two may reach level three or level four. At some point in this course, we will talk about level two objects, but we have to know that using the same instruments we can push it further and reach level three or level four. Of complexity, same tools. But it depends what we model In't, get too deep into level four. But in a few words I would like to describe why we don't use adaptive. If our object would reach level four, the mesh for objects at level four will be to dance and it will be almost impossible to work. That's why we have to create our movement map. As I mentioned earlier in this course, I said that we will work with level two objects, but we must keep in mind that this is not the final point for our three D models, at least for some of them. Anyway, level two is quite big on our way of increasing our modeling skills. We cannot keep it as it is the base that links the splints or shapes with volume. And of course, that volume increases in complexity. We will begin with simple models, and we will increase the complexity of our models using level two instruments. 11. 11 Open shapes vs closed shapes: In the previous lesson, we talked about the vertex types. In this lesson, I would like to talk about the open and closed shapes. This is a very important topic and we will use it a lot in our Prides Ma tasks in Prides Max. An open shape refers to a type of object that does not form a closed loop of boundary. An open shape consists of segments that do not connect their first and last point, resulting in an incomplete or open shape. But it depends what we are doing. All these shapes, all these four shapes, previous shapes were closed shapes. If I'll draw a line and I'll try to put my last point above the first point, a window pops up and asked me if I want to weld the vertices. Let's create two examples. In the first example, I will weld the vertices, and then in the second one I will not weld them. If I in, you can see we have a small distance between our first and last point. Next I would like to show the difference between welding and not welding our vertices. I will apply to both these shapes extrude and you can see for the first shape that was welded, we have volume. We obtained volume. For the second shape, we obtained just the walls of that shape. One more thing I'd like to point out are the walls color? One wall is black and the other have color. Shortly in Max, the surfaces have two sides, they have no thickness. And the main idea is that we have to turn or move the colored surfaces toward us on the surface of our objects. Do remember the objects in Prides Max are empty. They all consist of surfaces that usually have the colored surface turned toward us. I would like to show how we can turn or move the colored surface toward us. We will have to use level three options for this. I know we are talking about level two, but I'd like to show you how we are doing this so you can have a whole idea. I'll create a copy, a simple copy of this shape. And we will have to turn this shape to a level three object. We'll have to convert the polygons to edutable poly. Next, you can see here flip. And by the way, you can see that the polygons from one side is dark and from the other it's light. We must have our colored light surface always turned toward us. Let's get back a bit to our previous shapes. Our pick a shape. The first shape, for example, I would like to show you how the open or closed shapes work. We said that extrude, it's like a layer that we apply above our line. Until we merge the layers, we can always get back to our line. We can modify, for example, the vertices and the shape. The whole shape will change as well. Keep in mind we have to maintain the two deposition the planer position for our points, meaning we have to not move them up and down the second we have not to intersect the lines. In some softwares, this type of objects will not be created. Max will create the object no matter if it got mistakes. If we aim to obtain volume from a shape, we have to keep the shape closed and the lines must not intersect. We call this closed shapes. Now let's talk about open shapes. The second shape, if we want to change an open shape to a closed shape, we have to get to vertices first. Then we have to snap those vertices. Remember, we still are into D or planar mode. Activate the snap with Vertx enabled. Now, these two shapes look similar, still we have no volume. Now, the points, the two points got the same coordinates, but they are not welded. We must choose them both. Attention, do not click. You'll choose just one point. In that way, we have to choose them both and click weld. In this case, we will obtain volume. In this way, we turn an open shape to a close shape. By the way, we can do the opposite. We can turn a close shape to an open shape. For this, we will use break. We'll get soon to practice, to homework, and all these instruments will begin to make sense when we will use them to create real objects. 12. 12 Render splines: Before we go further, I would like to talk a bit about rendering suppliants. No matter what tools we will use to create suppliants. In the end, the final result will count. Although this course is not much about rendering, although we will have homeworks with rendering, it is more about learning the tools of the spliants and the principles, how we will use them in our projects. First of all, we have to understand that spliants are not renderable or not visible in render. In order to make them visible, we will have to apply different tools. Most of them will be modifiers from the modifier list. But in this lesson, we will talk about a panel that is used to make the splants visible in render. I don't use this panel, I'm using sweep. We will talk about this instrument. This is a very powerful and used instrument. And by the way, we will need it in every interior project that we will make. We will talk about it a bit later, but for now, we will talk about our first panel, although we are not using it often, or we can say at all. In this course, we decided to talk about all the instruments from the plans. We will shortly talk about it. And one more thing I would like to mention why we are not using it. Sweep a more advanced and more used instrument. You'll see that when we get to that instrument. Let's get back to our previous file. We talked about interpolation. We talked about how we can input our splans from the keyboard. Here we have rendering. First of all, let's create a small render. I'll assign very material to ever ray plane and I'll add a Sun so we can create a small scene and visualize what is going on in our render. I'll start interactive render so you can see better what is going on in real time. While I'm drawing a line, you can see, as I said, that the line itself is not visible in the render, will have to enable its visibility in the panel, or by adding some modifiers. In this case. Let's talk about the panel. I'll create a star, for example. We can create any shape. By the way, if I will check enabler and render, I'll begin to see my spline. In my render below, you can see a bunch of settings. These settings will activate when we enable in Viewport or in render our spliance. If you will take it step by step, you can say that enable in render will render the shape or this plan using the radial or rectangular parameters that are set below in this panel. The second instrument enable in viewport, when checked, will display in viewport this plan using the radial or rectangular parameters that are set below in this panel. You can see here return radial and rectangular. Usually, these are the most two common sections used for this plans. Let's begin with the first one with radial. Before we will apply the settings, first we must check our unit set up. In this case, we are working in millimeters. For interior design, you will be working in millimeters. Usually you can choose by the way, other settings, but we will stick to millimeters. Let's try to change, for example, the thickness. If I will input a higher number, you can see that the star is getting thicker. This change apply also in our render. Next we got sites. These are the number of sides that we will use for the section to create the roundness of this star. If you remember, when we talked about interpolation, we said that we have no round objects and max bedding sides. We can say that we are giving roundness to this object. We can say to the section that creates this object. We will talk further about path and section, in this case the path and the circle or radio section. It's the section itself. I'll create a copy. This star, I would like to show how we can modify details. If you remember when we talked about non parametric and parametric objects. In this case this plane, it's a parametric object. If we want to access the details, we will have to convert it to an editable spline. Now when I have access to the vertex level, I can move the points or the vertices, and in this way we can change the shape of our star. Next, it's the angle we can rotate our section. I will reset it back to zero. Let's get to the next section to rectangular section. In this case, we've got the length and the width. We've got two parameters. If I'll start my render, you can see that the shape has changed. We can adjust visually or manually our length and width. We also have angle like in the previous section. The last one we got aspect, we got the ratio between length and width. The lock check box lets you lock. The aspect ratio when locked is turned on, width is locked to length and results in a constant ratio of the width to length. Next, auto smooth. When turned on, this spline is auto smooth using the threshhold specified by the threshold settings below it. The auto smooth sets the smoothing based the angle between this plan segments. Any two closed segments are put in the same smoothing group if the angle between them is less than the threshhold angle. I don't want to get to deep into this. Now, this is a quite big topic and it implies level four. For now, we can say that we can obtain the roundness or so called roundness max. We have no round objects, we will not see the transition between surfaces. It's actually an interpolation process that we talked about in the previous lessons. Next we have generate mapping coordinates. By default it's off when on. This applies the mapping coordinates to ours. Plan DS max generates the mapping coordinates in the U and V dimension, so we can say x and y. The U coordinates, x coordinates reps around this plan and the coordinates is mapped once along in its length. Tilings achieved using tiling parameters in the applied material. Once again, this is not so important for now, we will do this using other instruments. For now, we are technically just passing the instruments that we have in this panel. By the way, if you will take a look at our general plan, you can see that the materials are lower than our modeling process. That's why when we try to understand the UVW mapping or texturing our objects, we have to start from the basics. We will skip that for now. Let's get further. Next we have use Viewport Settings. This allows us to set different rendering parameters and display the mesh or the volume generated by the Viewport settings. This option is available only when enabled in Viewport. It's on next. The real well map size controls the scaling method used for texture mapped materials that are applied to the object shortly. Let's say that you always not use this option. If we talk about interior design, you will always adjust the textures before you render. Next, we've got a few more options, I'll skip them for now. I don't want to get too technical in this direction and taking into account the fact that we will use not this instrument but we will use mainly sweep. I'll create a copy of this star. We talked about the fact that star, it's the path and the section that we are using. In this case, we use for this panel. Circular and rectangular sections are the two elements that we need to form the volume that we need to obtain from a spline. Yes, the final result that we see is the volume. But we can always change the path or the section. Now, final volume will change as well. We can push it even a bit further. We can go to level three or polygon level. We can change, for example, the vertices. In this way we will change the whole volume as well, but we will lose the connection with the spline and section elements. Spline usually is called path in Max. In conclusion, we can say that you are free to use this panel, but we will use, as I said, sweep, sweep. It's a more advanced and complex instrument. The idea is that it contains the previous sections and it got a bunch of other sections as well. We will use this instrument a lot in our interior projects. For now, I would like to show how we can apply the same settings that we use for our star using this new sweep instrument. We will talk about sweep instrument and parameters further. For now, we can say that the result that we obtained looks identical to the previous one. In the next lessons, we will talk about line dimensions and how we applied these in our projects. But we will get back to sweep soon as we will use it for our homework. 13. 13 Getting ready for practice: Step by step, we are getting closer to our first practice. Our previous lesson got a lot of technical information. To be honest, I don't really like the help type method. This is the first button, it does this, this is the second one, and so on. We said that in this course, we will pass all the instruments that we will use for the plans. Well, in fact, not all instruments. The start, we'll have actually to pass all the instruments so we can understand what they do. And then after we form an overall idea and understand what they are actually doing, we will get to the next stage of the second step, when we will form a personal palette of instruments. We will use this palette for our interior tasks. Although this course is not only for interior designers, but in the process, you'll see that when we are trying to start and finish a real interior project, we actually don't need all the instruments that we will learn here in this course. I'm an interior designer trying to present Preds Max as an interior designer. This does not mean that people that go in the similar but different directions got the wrong course. Plants perform in the same way no matter what direction you choose. Long ago when I was learning Preds Max and I was learning how to apply for my interior projects, I had to pass or should I say, I had to choose a lot of technical information until I got the essence, the core of what I was learning. On one hand, it got me prepared for all the situations that I was encountering. On the other hand, it got me too much time to learn all these instruments. When I worked as a teacher, I've observed that people do have a limited battery of interest in this case for Prides Max and if you don't deliver in the fastest way possible the necessary information for him to create something, for example an object that we will use in our practice, he loses interest and you cannot get him any more interested in this process. Or at least it's a lot harder to do this. The main idea is that you show him an object, you show him three or four instruments, how he can do that object in Freds max or model it. His interest increased only in that case when he himself models the subject. I used to associate this with racing cars when they got to their checkpoints. Every time a car passes a checkpoint, the driver or the pilot understands that he's driving in the right direction. He's doing the right thing. That every checkpoint is like a pin for his actions. He's getting the feeling where he stands in the overall process, how much he had passed and how much he has to pass in front. The effort must be put onto paper or must be understandable. In this case, the effect of effort and result begins to work. When we get to homework, the hard times begin for most of us. But without homework, we are not passing that checkpoint. So if you are not getting quickly the results that you expect stick to homework or to practice as this is just a matter of time. Don't give up on your homework. This is the most important phase in your growth. We will start with some simple exercises so you can get in rhythm. And also we will get to some advanced tools, although it will seem that we are skipping to some advanced instruments. For example, we will create in the next lesson an advanced photo studio. Our simple objects that we will model in the process, beginning with simple objects, could look as close as possible to how they actually look in reality. That's why we will apply technically these instruments, the advanced instruments, no matter if we didn't pass them, we will use them just to increase our photo realism in our images. You can look at them like additional instruments that will help us to learn and apply in a more interesting way, the main subject of the course, this plans. In the next lesson, we will create our photo studio. It will be like our render room. One more thing, especially for interior designers. By these sections, we have to get closer to increasing the feeling that we are working in a real interior project. Let's get to our photo studio, or our render room. 14. 14 Line dimension part 1: Next we said we have to talk about our photo studio. But two lessons ago we said that we will talk about line dimension. If we want to build or model our first photo studio, we will have to use first instruments. That's why we will combine these two subjects. Yes, we can use, for example, simple boxes to build our interior OL photo studio. But in this course, not only that we are talking about plans, we also talk about the methods that interior designers use to build their projects. That's why I'd like to stick to real interior dimensions and proportions. Pick urandom interior plan. This was a project that I have accomplished five years ago. I think the idea is that I would like to link our learning process when we try to understand how clients perform in Prides Max and at the same time showing how this applies to a real example in this way. First, the information would make more sense. Second, we will start to develop our interior designer skills. When I attended first Preds max courses. This was a training center where I had to prepare to be a teacher. The homework that was given to the students was quite random. It was taught by Prides, Max Users, or teachers. But they were not interior designers. But most of the students that came to those courses were linked or at least expected to apply this in interior designer or furniture. This is not the only direction but this is one of the most used directions in Prides, Max. So that's why when I excluded random tasks and focused on interior design tasks and furniture tasks, the courses became a lot more productive than they were until then. That's why focusing on real tasks, in this case we are close to interior design, brings a lot faster the results that students expect. Next, I would like to show how line performs in Prides Max. What is the logic of line dimension? Although I will have to use Autocad. This is a software that we will not use in this course. As interior designers, you'll have to use it. You will not be able to create a project without dimensions. The reason why I included Autocad in this line dimension subject we are talking about now, it's because I would like you to see the whole picture. Although our homework will divide into types, we will technical homework and we will have artistic homework. The main idea is that in the end, when you will learn all the instruments and when you will start to create real interior projects, these two types, artistic and technical, will start to get closer one to another and will become actually one piece. Okay, first let's understand how line dimensions apply. 15. 15 Line dimension 2: First of all, let's understand how line dimension works in preds max. I'll create a simple scene, if you remember we talked about parametric and non parametric objects. Let's take, for example, rectangle. I'll make a rectangle 500 by 500 millimeters. I'll explain in a bit why I didn't choose the line. First, we talked about the fact that parametric objects got parameters and we can input our real dimensions in these parameters. After that, we can convert these to an editable spline. Now when we choose line, we can see that we have no dimensions here. By the way, if you want a straight line, you can hold shift. Now here's the big issue that occurs. How we can draw lines using specific dimensions. If we talk about technical tasks, especially interior design, we'll have to draw the lines using specific and real dimensions. We said that in discourse, we are talking about Preds Max, but I'll get a bit to Cad. I'd like to show you the method, how we are drawing lines using real dimensions. I'll pick line instrument. We can say that it is almost the same line instrument from preds max. I'll draw a line that has 500 Limeters. We will save this file as autocad DVG file. Next we have two options. First, we can drag this file into preds mags. For this, we are using import function, but there is an issue with the line. It does not match our real dimension. Actually it does, but it is not in the scale that we are using. That's why we will use the second method. We will go to import. We will choose this file, a window with a bunch of options appear. We don't need all these options, we will need only rescale. One more thing. We will have to switch to millimeters as we are working in millimeters. When we press okay, our line spline. It's imported from Act to Fritas Max. And by the way, you can see that our line is an editable spline. Let's try to measure it. I'll use snap and you can see that it matches perfectly our rectangle. Now if you have to draw only a single line, you can do this using snap and using a Help object, for example. It can be a rectangle, a box, whatever object that has parameters, a max line does not have parameters or dimensions. That's why we are using Autocad usually to draw our lines, or usually our walls, if we are talking about interior design. The two editable Sp lines that you see are, by the way, identical. Let's get back to Autocad and let's try to draw our rectangle and see what happens. I would like to show you how objects, multiple objects perform when they are brought to Phridiasmx from Autocad. Same process with the DVG file. I don't want to get to technical, but if you remember in the first part of our course, we talked about pivot points shortly into this pivot point has to be determined every time we pick an object. It's like a moving pivot point in this pivot point remains where it is or keeps its position until we change it of if we need to change. Now when we bring our line and our rectangle to prides max, you can see that they act like a single object. The pivot point is outside the objects, it is actually between them right in the middle. We must not forget that we are into the or in planar mode. In our cat, we got the same weld function while we created our rectangle, we didn't weld the segments between them. That's why I can see here different colored dots. This actually tells us that we have a lot of plants here. We can go to spline. And you can see when we pick a plane, it looks like a segment. But this is a spline because it's not welded to the other segments nearby. And you can see when we pick a plan, the pivot point of that spline is highlighted. Although sees all these objects, all these plants like a single object. When we will create our interior walls, we will need all these plans to be a single object. We must keep clean, as clean as possible. Our plans, this plans actually forms the plan. Of course, it's a lot more simple to do this when our walls are not changing, but usually our walls will change. That's the main point of an interior design. We must create layouts and change the shape of the walls. At least those walls that we can move and step by step, getting closer and closer to a more comfortable layout. I'll show a small example. These things that we are talking about begin to make sense. We will talk about these walls in the next lessons. Plus we will have to raise our photo studio that we talked about. For now, I'd like to show you how we link this into one process so we can understand the logic of the steps that we are doing right now. Next I would like to show attached detached instruments. We will use them to combine or break apart plans in Preds, Max, and the parts that we are bringing from Autocad. 16. 16 Attach detach: Before we go further, I would like to talk about attach and detach instruments. You may say why we are skipping from one instrument to another. First, we are talking about line dimension. Next we said we have to create our photo studio. We didn't finish those tasks and now we are getting to attach detach instruments. All these small subjects are puzzle pieces that form our main subject or main working method. We have to break apart our main subject so we can avoid the help type learning method. Rather, I would like to show a working method from a practical point of view. And actually it doesn't matter if you are not in interior design. It's a lot easier to learn the instruments if to a real example. Now shortly why we will need attach and detach in our working method. Attach and detach refer to combining or separating objects. The process of modeling the Fred Modeling in Prides Max, it's very alike like drawing process. First you start with the main shapes, then you start to refine them. In the end you get to details. Now when you are drawing, you're not drawing everything using just one line. You actually draw a lot of lines and step by step you combine them until they merge into the whole drawing. Same thing in Preds max. First, we draw separate lines. Well, not always, but usually. Then we start to combine them. In a few lessons, we will get to our homework. It will be a lot easier to show that in examples. Now let's try to see first how attach and detach works with simple lines. Once we will understand the main keys or the main moments that this attach and detach instrument use, we'll get back to our walls and we will continue with our main subject. We will finish our photo studio and we will get to our first homework. Okay, let's get to Max. I'll build a line. By the way, you can see the pivot point. It's right in the center. And I'll draw a second line. Same thing, the pivot point. It's in the center. By the way. You can see, they got different colors. This is line one, this is line two. When I do select them both, the pivot point moves to the center. And you can see here, written two shapes. Now we go to attach, and you can see the mouse changes. We've got a symbol of attach and when I press attach, these two lines become one object. You can even see here written one object. Now I can change, for example, the vertices like this is one object. Although these two lines seem like visually they are separated. Max sees them as a single shape or a single spline. They even got the same color. Now let's try to do the opposite. Let's try to detach. Detach is the opposite operation of attaching. It allows us to separate parts of a single object into multiple individual objects. We can go to segments or splines. It depends what we want to detach. We select the segment or the spline. We can have multiple splines inside one plane. By the way, you can see the pivot point highlights. We the window pops up and asks us what will be the name of our future detached spline. First of all, we can see the color remained the main object to whom we had attached our first line got priority. And Max, it's called parent, child hierarchy. Our detached plant not only borrowed the color, it also borrowed the pivot point of the first or the parent object. If we need, we can center back or reset our pivot point for our detached spline. Now if these concepts are clear, let's get back to our exercise. Although we divided it into a few parts, we will get step by step to accomplish our big exercise or raising our walls. We stopped here When we brought our shapes from Cad, we said that the plants from Act are not 100% ready to use in Phidias Max as we want. Yes, we can prepare them in cat, but in practice it's not that simple. Technically, we can do that 100% accurately. But here interferes one factor that we have to consider when we talk about interior design, especially if we are talking about walls. The surfaces or the walls will suffer changes. Interior design process is about changes, so it actually does not matter the fact that you will do them perfectly in Autocad of free Smx. They will look perfect only in the last stage when you get to your plants. And at that time your three D project will be accomplished. And that's why we are not focusing at the starting stage to get our supplants, in this case our walls to technically perfect 100% perfect stage. Still keep in mind we have to keep our plants as clean as possible. When we create in our exercises just a few lines, this thing seems to be very easy. But when you get to a real project and you have, for example, your fifth change, and the client says, let's try to move this here. Then all these perfect process begin to take just too much time. And also you'll have to remember, clients don't like to wait too much. Okay, back to our shapes. The last tips, I'll create a copy of this line and this rectangle. Actually, I would like to show that the process that we did with our first lines is the same When we operate with lines that we bring from Autocad. We can use detach if we want to separate our objects that we brought from Autocad. But that's why I told you a few moments ago about the real process when we get to the walls, this perfect method does not work when you get to real interior projects. For now, it's actually enough for us to understand how we can do this technically. While we are in these first stages, you can actually develop this perfect method. So you can develop for yourself the skill of keeping clean your plants. Next we will talk about how we raise our walls in Fridiasmx. 17. 17 Scale vs Proportion: Okay, let's get to our walls. And although there are persons that are not in interior design, I'd like to show this as a technical exercise. We talked about the fact that we will have technical and artistic homework at some point. They will meet. This will be when we will reach our final stages. Until then, we will analyze pieces that actually form this whole puzzle. In the first part of this whole course, we are actually now the second part, we talked about the basics and we said if we want to obtain a one to one object in freds max, a maximum simulation from reality in the Fred Virtual Studio, we will actually get to this point, and this is, by the way, the free D modeling process. When you need, for example, interior models that copy the real shape, the real dimensions and the real textures of a real object. And using all these features to fit this model in your interior project. This is actually what you aim in interior design. You seek perfect proportion, well, almost perfect. And you have to use objects that maintain the real dimensions so they could fit inside your room or inside your walls. They also got a proportion towards the walls and towards the interior that you are developing. They seem to be picked right. The second stage is when the client wants to buy them. This is actually the final stage of the implementation of your work in pre DS Max for an interior designer. This is actually why we use pre DS Max. We use it to create a pre visualization of our future projects. This is like a virtual workshop where we play with proportion until it gets right. Now on the first part of this course, we said that we will use only proportion, or mainly proportion. That's actually because we divided these two factors, proportion and scale, that actually bring an object to one to one ratio. We call proportion artistic approach, or artistic homeworks. We set the scale. It's like a factor that brings this proportion to a real one to one ratio, in a way, we can call them technical homeworks. We said that in this course we will have both technical and artistic homeworks. I think it's very clear that they are actually two parts of a hole. And we actually divided them only for simplicity in these first learning stages. Well, we cannot say that we model our walls using artistic approach, Although we can get to the point where we can change our walls if the proportion seems out of balance. We can actually call this an artistic approach, although we will have to measure them in the end. This will be a technical approach. In conclusion, we can say that these two factors are linked to one to another. And the fact that we modeled, and we will model in this course further as well, what we call to be artistic homeworks was and is just a half of what we have to bring to the final stage, one to one. In other words, we can say that we didn't finish our works. We can say that they wait for the technical factor for the scale to interfere. So that they can be brought to this one to one or their final modeling stage. That's why in the second part of the whole course, it's time to talk a bit deeper about our second factor about scale. We could have actually start with the scale, but here interferes a small interest issue. When people start to learn three S max. They are anxious and they can't wait to get to colors and textures. That's why proportion homeworks or artistic homeworks do usually a better job to getting them involved. Technical part. Usually being like the second step seems to be a lot easier. Although technically there is no difference. It's only about motivation and interest. That's why I keep repeating, not quitting your homeworks. Okay, further I would like to show you the technical factor. Using a real example, I've picked a random object that I have accomplished. I actually picked the wall part. This is before and after. Wall part, even exterior walls suffered a bit of changes. It was due to some interior design moments. First, we developed with the client the sketch and after measuring, which is the technical factor interfere the artistic part. This was a house and construction and even if the client didn't like the fact that he'll have to break the walls. Well, of course not all the walls, the window part and the door part. I don't have now the initial sketch that was done by architect, they are usually focused more on construction part. The idea is that when we step by step develop the sketch, trying to apply in this interior project, all the preferences that client got. And by the way, this is due to the artistic approach that you'll have to use in your interior design sketch. You must not forget about the fact that an interior designer, although counting the technical part, it's actually trying to create a pleasing proportion, which is an artistic approach. That's why your sketches must use technical instruments, but they must reach that artistic pleasing view. That's why we call it interior design. If you are not creating your plans, which are technical, your main focus must be on artistic approach. It seems, in this case, that artistic part is more important than technical. Yes, you are an artist, not quite a free artist, but still an artist. You have to bring in front this artistic part. Although the technical part is still present, it must act like a hidden feature. It actually teaches you how to move. But keep in mind clients like colors. Okay, next I'll show the logic, how we raise our walls. In this case, we will get closer to our technical part using a real example. And finally, we will use these walls to create our photo studio. 18. 18 Extrude and interior walls part 1: So let's talk about how we raise our walls in Prides Max, especially for beginners. This is a little bit confusing why we are not doing this in one software. In Prides Max only, let's say in a simple way that every project starts with the plants and then ends with the plants. Usually people and clients that are not in interior design appreciate the final image. But until we form that image, until we get to that image, we must pass actually a half of our work creating and developing the sketch. Don't try to pass too early to textures and colors. If we don't reach balance at our two D level or our plan or sketch level, you'll have to do this when you raise your volume or your free D. That's why the most short way is to do this in two D. Yes. Sometimes we can have some simple rooms and in that case it seems like we can use only Preds max to do that. First of all, we have to keep in mind that we will return to our plans when we will finish our project. You can create a project if you don't have any plans. This is one of the biggest reasons why we start in Autocad. Yes, we can avoid Autocad for the start of our project. Let's look at a real example. We can raise these walls using only freds max tools. For example, this wall got 3,200 millimeters. It's width, by the way, it's 400. Now if we get to freds max, we can use the rectangle tool to raise this wall rectangle in preds max got dimensions. We will have to use extrude to assign the volume to our rectangle. In this case we will use the height of the ceiling. In this case we obtained our first wall, then we will measure our second wall and we will repeat the same process. Technically you can get to the same result in Phidias Max using this technique, although it seems to be a bit primitive and it actually is the second main question. How do we arrange our furniture of using real dimensions even when we finish all using these techniques? How do we create our plans? Well, there is an instrument called Section in Pride. In a simple way, we can say that it captures the intersection of our supplies or our lines. But this is not the method to create our plans. Do remember that the plants have to be clean. Although it seems like we can cheat a bit and we can rush our work when you'll get from simple to at least medium projects, all these cheat techniques will become more and more less effective. That's why we will stick to the standard method that is used by most of the interior designers starting our walls or our plans in. By the way, I will attach a file so you can follow along. Although this course is not about, we cannot miss this. And this will be a step that you'll have to take, you'll have to learn if you intend to start to create interior projects. For now, we will take the DVG file that it is attached and we will do the same thing like we did in the previous lessons. We will have to import the file using the same steps. We have to use rescale and we'll also have to set 2 millimeters. Next, we will use from the modifier list. In this case, we had the height of 2,800 millimeters. We can say that we obtained our walls, but this is the rough stage. I'll have to explain a few moments before we get to understand the whole process until our walls will be ready to use for the next stage. This lesson will be like the first part where we raised our walls. In the next lesson, I'll have to explain these moments that interfere when we start to create our interior projects. 19. 19 Extrude and interior walls part 2: Finally, let's get to the walls. We said that we have a few moments that we have to talk about. Shortly, I would like to show all these moments. From the start, we will look at this real example so you can form an overall picture for yourself, understand the core, and understand why we are actually using all these methods that I will show. Further, it's very easy to show a perfect method. In this case, all these things that we talked about, the walls would be a lot shorter and the lesson would seem to be also perfect. But the idea is when you'll get to real projects, this will not work. Usually when people attend interior design courses, they are taught to create with polyline Inautct the walls. Yes, this is the perfect situation. When you have just to copy one project and repeat it. You're not working with the sketch, you are just drawing above it. This does not work with real clients. With real clients, you'll have to change, change, change. And the fastest way is to do this at two D or this sketch level. This is getting very annoying for a lot of designers, especially for those who are at their start. I was among them too. Everyone tries to rush it to the lights, textures, and colors. This stage seems like the essence or the core of their designer's activity. I do like this stage too, but at this stage, changes should interfere at minimum. But for those who rush it, they only begin. That's why be patient and get used to the gray stage, the two D sketch stage. It is actually the fastest way to cool design. Okay, let's get to our walls. In the previous lesson, we used extrude to raise our walls and we stopped. We said that we'll have to talk about a few moments now. I'll show these moments on this real example. This will be the most clear way. Explain this and show this visualm I attached a VG file with these walls so you can follow along. Keep in mind why I am talking so much about changes. It's because you'll have to keep your plants clean. By clean, I mean no overlapping lines. Visually, they seem to be one line. But technically they actually create problems when we will have to raise our walls. Why I am talking about changes, it's because after changes, a lot of changes you'll have a lot of overlapping lines do consider. Even if you get to an almost final version of your walls, some changes may occur. After you raise your volume and install your furniture. Two D balance or proportion that we obtain at the sketch level. It's very important, yes, it will keep mainly your entire project in a balance or a visual proportion. A visual pleasant proportion. But when we raise our volume and install our furniture, interferes the furred axis, the depth or the height axis, we cannot predict all the changes that we will have in three D. That's why some changes may occur. They will not be critical still. You'll have to do this to increase your balance and get it to your final stage. That's why I'll show you next the method that I'm using for my projects. It's very alike like polyline intact. The idea is that when we will raise our walls, we will have to detach. Detach being actually the instrument, we can say that we will have to break apart the surfaces. Yes, some walls may have same textures or same colors, but not the walls will be the same. Let's take a look at our sketch. You can see here we have columns. You can also see them in our lines. Here we will have windows. We can create all these using one line, but usually I break them apart, creating a few pieces. Next, let's create this first piece. We will have to use line. This will be the same like poly line in arcade. We'll have to enable snap with vertex enabled. Now create this first piece to our window. Don't forget to weld, so we can obtain a closed contour later. In this case, we will be able to extrude it. As you can see, we omitted our columns. They are inside our walls and we are not seeing them. Next, we apply extrude. The height as we said will remain the same for all the pieces. For all our walls. This column part will exclude. They are important but not for now. Next will be the piece between our windows. Same thing, weld, and then we apply extrude The next one. Of course, we are considering columns in our plans. They are important to know where we can break or we cannot break the walls. In this case, we are just omitting them as they are not visible in our renders. We will have windows there. I will create only these part. Later I'll show you how we connect them. We will have a big window there and will create only this part. Yes, we will have doors there, but still we will create all these walls so we can have an overall image of all our walls or all our projects. Usually, I do stop at windows or at at doors. As I said, we can create all these from one piece, but it's a lot easier to do this using different parts. Later I'll show you a bit further how we connect them. Same thing is true, we leave the window. Next we have this wall. And this part, and the last part weld and exude, we raised all our walls, and next we will have to connect them. Let's create one more copy. In this case, I know we talk about suppliants, but we will have to get to editable polls. This is our third level and we will have to use attach. By the way, attach is present for the suppliants and for polygons to the same principle that we used here. I will create two lines I will attach. In this case, the pivot point remains with the first object but a two splits. In this case, we have just two splines turn into one object. When I select one span, the pivot point moves where I'm selecting moves with my selection now being at the spline level, I can detach the second spline. In the next lesson, we will see how we can connect all these pieces to form our interior walls. 20. 20 Connect volume: The final stage that we have to pass, it's connecting our walls into one piece. Although it implies level three instruments like polygons, we will have to pass this stage so we can finish our walls and get to our photo studio. Being at the third level. At the polygon level, we will have to attach or connect our valon. We will use the same old instruments, attach and detach to do this. Although I will repeat myself, I would like to make clear one more time the principle of attach and detach. Using this simple example using these two simple lines, Max sees these two lines, or these two objects, as separate objects. Every object got its pivot point. When I use attach, we get into a so called parent child hierarchy. It means that the second object with its pivot point will be connected to the first object and will lose its pivot point. Actually, it will borrow the pivot point of the first object. After we use attach, these two lines become one single object. But if I enter the third level, the supplying level, click on those lines. Every single line, in this case we have just two lines, will have its own pivot point. This principle, it's very alike like we will deal with our walls, you'll see that in a moment. After we will connect all our walls, we'll have to detach the parts that will have different textures. Should I say different materials? We can use techniques to create more complicated materials, but trust me, it's a lot easier to detach the parts of the walls and manage them separately. That's why let's look one more time how we use detach at the spline level. It's the same thing, like we would break apart our objects. The only difference that the pivot point of the second object detached remained with the first object where the pivot point of the first object was. That's why when we will use this technique for walls, when we will break apart the surfaces, mainly we will break apart the surfaces of the interior parts of our walls as they are visible in our render. One more reason why we will break apart our walls, it's the floor generator that we will have to use on some of those parts. For example, if we have to imitate a brick wall or something like that. Now let's use the same principle on our walls. As you can see, we raised all our parts. All these parts stills plants, although they got the extrude above it as attach at the polygon level. And we will attach all our walls. As you can see, the pivot point remains with the first part. Like the parent child relation as be talked. Same instruments attach and attach at the polygon level. Next, we will assign a V material to our walls. Usually this is a gray material, you can use even a white material. We will use line to create the floor and the ceiling of our future interior. We will assign the same ray material to the floor. Keep in mind our floor can be divided. We are talking now only about a simple floor. Let's copy the same floor and transform it into our ceiling. Same thing for the ceiling. We can have more complicated ceilings. This is just a very simple ceiling so we can understand the principle. Usually we lower our ceiling and work inside our interior until almost everything is ready. Now let's see how we can create our doors and our windows. As I said, although this is a function that belongs to the third level. We'll have to do this so we can reach our final stage where our walls will be ready to use. For our photo studio. I'm using connect with two segments and we install usually the height of our lower part of our window for the lower segments. And the height of our upper part of our window for the upper segments. Then I choose the polygons, we use bridge. I'll create just one window. Same principle will be used for all the windows and all the doors. The only difference that the doors will have just one segment. We will use further this interior to build our photo studio. In the next lesson, we will continue with our photo studio. 21. 21 Photostudio : Let's talk about our photo studio. First of all, why do we need a photo studio? Of course, not everyone will be in interior design, although it's a very used direction and directions that are very close to it, like furniture industry or furniture production. Fred Modeling, we can add here also advertising and different directions that are very close to these branches. Anyway, no matter what you are doing in FredSmx, you are trying to simulate the reality. I'll treat the subject from a point of view of an interior designer, although for close directions, as we said, the things will be almost the same. The biggest problem when beginners start interior design is the fact that they lack the sense of reality in pre D space or pre DS space. They understand how it should look but still don't know how to do this in preds max to get the same result. And it doesn't matter actually what you are doing, furniture, interior design, or advertising or whatever your skill level, it's appreciated by the way, how it works look compared to reality. That's why you should not rush it. First of all, tests on small objects and very simple scenes, you should increase the feeling of interaction of the factors that create the whole scene. The model, the lights, the cameras, the materials, and the render itself. I've seen a lot of students that pass pre DS max courses, especially in interior design. And they were promised to reach the pro level in pre DS or interior design in one month or two months. They usually are taught the steps of a designer, like a scheme, step by step, in other words, we can say like a template. But the sad fact is when they get to practice, all these things are not working. It's very likely they would have to climb stairs instead of climb 12 stairs. They are trying to jump ten stairs at once. Unfortunately, this tempo does not work. The main problem is that they don't want to lose time with simple exercises. They're trying to reach the pro level from the first hit. But all those pro designers did that before they got to their point. That's why we are building a photo studio, starting with simple objects. We will increase step by step until we start to get the feeling how all these factors, light materials and others are interacting right in our scene and they look realistic. In other words, we can say that this is the beginning of an interior design. Yes, we have only one object or a few objects in our scene. But these are the same principles that we will apply in bigger projects on more time. Don't try to rush it, First of all, get used to the instruments and how they interact between them. Let's get to Max and let's try to model our photo studio. First of all, we have the window. This corner will be the place where we will render our objects or our homework. As you can see, now it's dark. We have no lights in our scene. First of all, we have to bring back our ceiling and we will use V ray lights as we are using V ray for the filing of an interior. We will have to bring, as I said, back our ceiling so our light could bounce off the ceiling, walls, and our floor. We should consider that the walls, the doors, windows are all done. Of course, we have big openings. In this case, the windows are not finished yet and there will be a lot of light still. You'll understand what you have to do in order to get the feeling of an interior. Okay. I'll create a V, a simple V light. I'll create a teapot. This will be like a table or a chair, for example. You can see by the proportion of the window, the height of the window. First of all, we have a lot of light. Let's enable not the render but our interactive render. We can change and see in real time. Our changes, the intensity of our light. It's very high. First of all, we have to bring the intensity a bit lower. We will have to install a point of view, you can see outside. It's dark, we have no lights. At least our lights are. Not connected our default lights. In order to install the view, we will need the Vira camera for these exercises. I will not use a camera. You don't get too confused how all these acts. We will use only simple views. Simple views, I mean only the view that we are seeing from our point of view. Actually, you should use physical camera. You can see that the V light that we use, it's very crude, very simple. Yes, we use light in our interiors, but they are like additional lights. If we want to get a realistic overall ambient light, we will have to use HDRI. We should go to Beat Map. We should choose HDI map. You can find a lot of HDRI maps on Internet. I'll attach, by the way, this HDRI and it acts like an environment. You can control the intensity here, but we should have more control. In a second, I will show how we can control all the settings. First of all, we should have our sun. You can see here at the sun in our windows. So we can have the most powerful source, the light inside our interior. In that way, the biggest amount of light will come through our window and will fill the interior. One more thing we have to do is to copy an instance of our HDRI in the Material editor. In this way, we will have access to the HDRI settings. You can see here spherical and the rotation. Usually we use only horizontal rotation. I'll try to rotate our map until the sun hits our window or is seen through our window. Well, something like this. As you can see, it's very dark inside our interior. Yes, we see our object, but it's very dark. We should raise our intensity M. Well, we will have to appreciate visually how much. For example, this is too much, it's too wide. So we'll have to find a visual pleasant ratio of light coming through our window. Our objects still look very crude as they don't have any material supplied the light compared to the first light. It's a lot better. But we will have to apply some materials. Again, we will not talk too much about materials and lights in this course still. These are some elements that we will use in our homework. I'll show a bit some moments that we will have to use. I'll choose, for example, reflective glossy material. Instantly you can see the change. You can see how realistic the teapot or our object, whatever object will be. Look, let's find some material and for our floor shortly. We will not talk, as I said, about materials too much in the course, but we have two types of materials. They are actually one type, but I call them two types, the settings and settings, textures. That's why the first material was applied. And we have no other settings to touch, but in this case our floor, we actually see the reflections, but it is not seen as it should. You can see here written mapping coordinates. We talked a bit about mapping coordinates. I don't get too deep into this, but still we have to adjust our objects and the textures that will be applied on them. I'll show an example so you can see how these coordinates work. I'll create a copy of the teapot and I will apply this same material on this teapot. Our floor was made using a line and it does not have the coordinates applied. But the teapot, it's a preset, It does have this coordinate applied. You can see the texture here. Now we need for our floor, the same thing. You can see the line that we use to create our floor and we don't have the mapping coordinates. Now we have to go to modifiers and find UVW map. In this case, you can see our texture appeared. It's very big. But it did appear. We have to adjust it. Let's try to apply the same modifier to our second part. You can see how it interacts. Usually we are using planner or box. I'll switch to box, although it's not correct mapping, you can see a yellow gizmo. If our gizmo, it's smaller, our texture also will be small or very dense. If our gizmo will render so we can see better, if our gizmo is bigger, our texture also gets bigger. Same principle will apply for our floor. The texture is way too big. So let's scale a bit. We will use scale, maybe it's too small, but something like that, you should appreciate visualer the proportion. This is very important. If your objects or textures will be out of proportion, this will be seen very quickly in your enders. Now one more thing I would like to do. I would like to apply V ray materials to our walls and our ceiling. Let's apply white material. If you can see, it's a lot brighter. Now the previous material was gray. One more thing we have to do is to install the size of our future image. In this case, it will be a lot better to use a square, one to one ratio. You can start by 1,000 by 1,000 pixels. It will be okay. We will zoom a bit closer. As you can see the light that we have outside, it's almost enough to create the realistic effect. Step by step, we will bring our objects here and we will render them in this atmosphere. In this light photo studio, we can obtain realistic renders and realistic images. The same principles, as I said, will be used for our interior. First of all, we have to start with simple exercises and then we will get step by step to understand the principles, how we use this in our interior projects. Okay, save the photo studio. And we will continue after we get to our homework. 22. 22 Loading reference image: Before we go further, I would like to talk about how we will load our images. They will be our reference when we will start our free modeling For those who attended the first course. We already done this still. I will show this one more time. As without this action, we will not be able to model our models precisely before we begin. I would like to say some things about one to one scale and proportion when we start, as we call them, artistic homeworks, although they are models that are in proportion, waiting for their scale to be applied. Here we have the dimensions is attention in pixels, not the real dimensions. In other words, we can say that we don't really know the dimensions of an object when we are just looking at it using the proportion, it looks right. But when it comes to dimensions, this object, compared to the objects in space around him, must be brought using scale to his original dimensions. Only then he'll look right in a composition or in an interior design project. That's why we are using a reference by loading the image, bringing our object or our model to a proportion, and later to a scale if we need to bring it to one to one ratio. Okay, let's get to max and see how we are loading our images. All these images will be our homeworks. They are the first homeworks. The facts that we need, the ratio of an image so we can load the image properly. First of all, we will create a plane. I'll set the segments 1.1 so we don't get confused as well now about our length and our width. When we talk about length in real life, we say that this is the biggest part of an object. In this case, this will be our length. But in max length, it's always parallel to x. No matter if it's bigger or smaller, the width, it's always parallel to y. In this case, the biggest part is our width. I know it's a bit confusing, but you'll get it in a minute. We have to create a material and we will load our image on our plane. We will use a material and I'll drag image in the diffused channel. Now we will have to go to the properties of our image and remember the dimensions. In this case the first, the bottom part, which we call the x axis, be our width. The second here, we will enter the pixels at tension pixels, not dimension units. We are using these dimensions to get our image in proportions so we don't get stretched. Usually when we are modeling models that are standing, for example, chairs, tables, and so we will rotate our image 90 degrees. By this, we will bring our model into a more comfortable modeling position. We will repeat all this process many times when we will start our homework in a few lessons. Now I would like to explain the last part. We will always use our zero level, I mean the height, like our floor. The logic goes like this. In a way, our model is the table. Or at least it looks like a table. Our table stands. That's why we rotated the image so we can put it on our floor, which is the zero level. Now you will ask, wait a minute, the table has an angle. Well, this is the next lesson. This is about the thing called perspective. In the next lesson, we will try to understand the basics, what means perspective and how we use it in our drawings. Also, I'll try to show how we will reset these angles. Without angles, we will not be able to see our whole object or our objects volume. For example, if we would look at this table only from the front view, then we will not be able to tell how this table looks by using angles. We can appreciate the whole volume of our table. And we can model it using only one image. In the next lesson, we will try to understand what is perspective and how to deal with these angles in our modeling process. 23. 23 Perspective basics in 3dsmax or how to model 3b objects principles: What is perspective? Why do we need it for our free modeling perspective? It's a very big topic and I won't get too deep into it still. We will need to understand the basics. If you want to get to free de modeling in free DS max in the context of drawing art, we will get to free de modeling as well soon. Perspective refers to the techniques that we use to create the illusion of death and three dimensionality on a two dimensional surface, such as a canvas or a piece of paper, for example. Perspective, it's a fundamental concept in visual art. It helps artists represent objects. And seen realistically in a most simple way, we can say that perspective. It's a technique that we use to represent volume when we try to draw it on a paper or on other whatever to the surface. Of course, it's based on some technical rules, but the main goal is to represent how our human eye perceives volume and depth. We must keep in mind the different animals, depending on how their eyes are constructed, perceive volume around them different ways. There are several key aspects of perspective in drawing. First of all, we begin by the fact that the objects that are closer to us seem for us bigger. If we will change our point of view, the things will change as well. All our, all our future works will have points of view, no matter if they are interiors objects or whatever. When we establish a point of view, we try to highlight a specific area. For example, if we create interiors, we usually highlight the sofa area as this is the center of our composition, usually in a living room. We also usually choose the best point of view as it determines how good our idea was revealed and also impacts how our final render or our final work looks in general, even if we may or may not understand that we are using perspective when we are doing this. First of all, our work, our render or our interior, is projected on a D surface. Preds max automatically uses techniques and rules of perspective to represent our fred interior or fred object. Whatever these rules are built in in preds max. When we are doing this on a paper, we will have to use the rules of perspective to draw this, right. Usually we use two primary types of the neural perspective, one point perspective and two point perspective. First of all, we have to mention that we have the horizon line. No matter what type of perspective we are using, we can say that this is like the zero level. Imagine that you are standing straight and you look forward. Straightforward. If there are no objects in front of you that block your vision to see the horizon, then we can consider that this will be the space that your eyes are capable to see. The objects in front of you seem bigger. But by every step that we increase the distance between our eyes and the object until we reach the horizon space where our vision ends. The objects appear much smaller and smaller until we reach a point where they vanish. We call this the vanishing 0.1 or two vanishing points, we will talk about this. In other words, they get smaller and smaller until they turn into a point, and our eyes are not capable to identify their shapes anymore. This one vanishing point, if we talk about one point perspective or two vanishing points, if we talk about two point perspective, are placed on the horizon line. In one point perspective, all lines and objects converge to a single point on the one vanishing point. This technique is often used for the drawings, where the viewer is looking directly at one side of an object or a scene. Two point perspective. It's used when the viewer is looking at an object or a scene from an angle. In this technique, lines converge to two different vanishing points on the horizon, thus reading the illusion of depth. We also have three point perspective. It is used when an object or a scene is viewed from a high or low angle. In addition to two vanishing points on the horizon, there is a third vanishing point above or below the horizon line. We will not get too deep into this. As I said, perspective it's a very big topic. We will use only the first two types. They are enough for our Fred Modeling in free S Max. Understanding and effectively applying perspective in drawing is essential for artists who want to create realistic and visually engaging artwork. It allows to accurately depict the spatial relationships between objects and create the sense of depth and dimension on a flat surface. Artists often study and practice various perspective techniques to enhance their drawing skills and convey depth and realism in their artwork. Now we will get to our second question. Why do we need perspective for our Fred modeling? First of all, the question, why do we need it if it's already built in in preds max? If we create objects from scratch, from zero, then we will not need it, at least preds max will apply it for us. Let's try to analyze this question using a real example. In this case, it will be more clear. As I said, this course is not only for interior designers. But I find interior design being my main activity, being the easiest and the most practical way to explain theory. As only in practice things become truly understandable. Let's say for example, we have to model a specific interior. Some of the three D models we will download and use directly from the library. But usually clients got their own specific additional preferences. We will not be able to find every single object in three D library. That's why clicking and dragging ready free D models from the three D library will not be enough to complete your interior tasks. It's like a beginner level in interior design. You must have the skill to model. If we would break the interior apart like a puzzle, you must be able to recreate and weld all those pieces again into one big piece. That's why when I hear from beginners, how should I start learning pre DS max? Well, you have to start by modeling simple things. In the first part of this whole course when we talked about standard primitives. The second part, it's about splians. We try to model the most simple pieces of furniture. In the second part, using splians and new instruments, we will try to move one step forward and get from level one to level two type objects. But before we begin our modeling, I would like to show an exercise we will try to apply in practice, the perspective basics. I'll try to show the principles of how we can get deeper into Fred modeling. We must understand the principles, how we start and manage the Fred modeling and how we increase this skill. After that, we will start from simple objects and we will raise the complexity of our models. Of course, we are talking about level two objects, but before that, now let's get to Max and let's try to understand the main principle that lies behind all the free modeling. I'll try to explain this example using a cube, 1,000 by 1,000.1 thousand. If we want to begin our three D modeling in three DS max, we must understand the principles of how we are creating our three D models. I'll have explain the perspective basics, we must understand these principles and what is perspective distortion? In that way, we will be very close to 100% When we will try to recreate our fred models, we usually will have no plans. So keep in mind we will have to use only our eyes to seek our proportion, if you remember our one to one image. I'll get back to it a bit. When we will model in preds using only images from Internet, we will have to use only the proportion, as there will be no dimensions. And we call this artistic approach, but we must remember, we have the second part, the technical part, or what we call the scale part. If we want to get the object to be one to one, as we call it, one to one, after we will create our proportion, we will have to apply the scale. That's why. Now let's talk a bit about proportion. How we get our proportion using only images. I don't want to get too deep into perspective. This is a quite big topic still. I'll have to show you the main principles. In that way, you will understand exactly what to do when you have to recreate an object using only an image. First of all, I created a cube for simplicity. It was, as I said, 1,000 by 1,000.1 thousand and I created a camera. Mentioned that different animals, as I said, look different at the objects, At least they see the objects different. We are interested how our human eye perceives the volume around us. Perspective gives us the understanding how we can recreate the volume using specific free D techniques. In perspective, we always have the person who is watching. That's why I created first the camera. It's like our eyes and depending from what angle we look at the object first, I created the camera in front of the cube. We perceive this volume in different ways. If I look at the cube from the front side, I will not be able to tell about its volume as I will not see its left and right parts. That's why when we try to appreciate an object, we move a bit from an angle so we can see the front and the side parts. In that way, we will see all our images from Internet that we will have tomorrow. I mean the models from the images, they are usually shown from one angle, so we can appreciate only from one image how this object looks. But the main moment that interferes here is the perspective distortion. The edges or the parts of the objects that are closer to us seem for us bigger and step by step as we Increasing the distance between our eyes and the edges, They seem smaller. Now if all the models from the images that we will have to model, we'll have this perspective distortion. We must understand the principles of what techniques we have to use to get rid of this distortion and bring our objects to be one to one. That's why in this exercise, in this first part of this exercise, we will divide it into three parts. I'll try to bring a rectangle into perspective and vice versa, so you can understand what is vanishing point first. Next, what is the measurement or the zero line? We will get to it in a second. How objects converge into vanishing point or points, depending what perspective we are using, how we are using horizon, how we create a perspective distortion, and how we recreated. And finally, in the last part, the third part of this exercise. At the end of this video, I'll try to show the practical part, how we will use all this information to recreate the objects that we will need to model from images. On my time from the start, I've created an object, this will be any object that we will have to model. Next, I've created a camera. This will be our eyes or the person that it is watching, or us. After that, we created the rise and line and we draw from our eyes to lines. This will be our field of view. In other words, we can say that this is the way how our eyes are looking at the world or at the objects. After that, we created a segment. It can be any standing object, for example. It can be even a person. Now said that our eyes perceive the object smaller. When we increase the distance between our eyes and the object or the person, whatever, that's where the perspective distortion interferes. And we connected the object or the segment with the vanishing point. As we said, point where our eyes are not capable to see anymore. It turns all into a point below this segment, we draw a line, horizontal line. This will be our tape or our measurement. This is also like a border in the first part. In the upper part, we got our free D, our perspective including the distortion in the down part, the part below this zero line. By the way, two reasons why we are using this zero line. First, the objects that we will see will be on the floor. This will be like the zero floor level. The second reason or the second part, is that the part below this zero line down the zero line will be the part where we will project our objects so we can get the distance from the distortion in a proportion one to one in the right proportion. I know it may sound a bit confusing. Be patient. We will get to the practical part and you'll soon get it. These are the perspective rules. If on my segment, being in a free D space, it's applied the perspective distortion. For me to reconstruct it correctly, I'll have to bring it to a correct proportion or correct dimension using some techniques. This segment, it's actually the edge of any object you will see on an image with a free D model. Next, I'll have to simulate a compass. And we said that the space below the zero line or this measurement line, it's the projection or two D space. But my segments in three D space. To get rid of that perspective distortion from three D space, I'll have to bring it from three D to two D. That's why we will use the compass and we will get the zero point of the point that connects the three D and two D spaces. And I'll rotate it until we get it to our horizon. There we will get another second vanishing point. Same thing I'll have to do with the segment itself. I'll have to rotate its front edge. Well, in this case it's only a segment. And its front edge, it's the same edge that lies on the zero line that connects the three D and two D space. In this case, we can say that we are bringing its height on the projection or the two space. And doing that we are getting rid of the distort, the perspective distortion. We are getting the right dimension of this segment. After that, we can measure it. If you remember, our zero line was the measurement tool or our measure line. But you can say, wait a minute, what this measure is linked to? Well, this measure is only linked to the first part of our one to one to the proportion. And you will be right second. We need a scale so we can get our measure to a standard. What we did here was only the first part, the proportion part. Yes, we got rid of the perspective distortion and we brought our segment to be in the real dimension. It's real dimension in the scale of this drawing. But in this case, we draw just a random segment. That's why when you use three D models that we will have on our images, they will be only in proportion. You will not know only by image. It's real dimension. We will need the plans of that object so we can see the scale, the real scale or the real dimensions of that object. Only then you'll be able to link the proportion and scale together to bring the object to be one to one. Okay, let's push it further. Very simple with the segment, but while we draw a second vanishing point, let's say for example we have a rectangle, All our objects will have volume. We will not have only segments, all the edges of a rectangle are equal. If we have to place our rectangle in a perspective distortion, we say we create and recreate distortion, then we will use this vanishing point, this second vanishing point, to intersect the lower part of our rectangle that it is on the floor. Well, it is in perspective distortion, but we say that this is the floor with the converging line and the part of the real dimension of this segment, the first segment that we turned. In this case, we will obtain the point of intersection between two lines. The converging line that goes into vanishing point. And the line that connects on the zero line or our measure line, the real dimension segment. That's why we are connecting exactly here in this point, as this is the real dimension of this segment. In other words, we can say that we take the real dimension of this segment and we put it into perspective. Distortion, Objects in distortion appear a bit smaller, that's why we are using the real distance. It will show the point at the intersection, the exact point. How to draw correctly this rectangle if we would like to turn it into perspective into D. Of course it's very easy to draw a rectangle. Yes, freds, max is doing the perspective things for us and we are not thinking about this. Yes, I know you may ask why we are learning all this. Well, when we'll have to get to Fred modeling, you'll have to recreate this perspective from images. I could have show all this in a few seconds. Just saying that we will have to turn the edge that goes into perspective, avoiding the vanishing point stuff and all that. We will have just to turn the edge to zero line to this measure line thing. You'll have to keep in mind, you'll have to add a bit to this segment. Somewhere around 10% 20% So you can avoid the perspective distortion. That's it, yes, we will be doing this in the future when we will start modeling. We will not reconstruct all these finishing points for every model, but you must actually know the core of what you are doing. Try to go with a professional approach if you intend to increase the skills in Fred, what about the level three and level four objects? Okay, let's get to the second part of this exercise. We will try to add volume to our object. In this case, this will be any three D model that we our image. We will try to create a cube. 1,000 by 1,000.1 thousand as we said. We will use a cube for simplicity as its edges are equal. And we will try to push further our perspective basics, our perspective techniques. We will try to create and recreate the perspective distortion using a fixed image and a fixed distance. The distance of our cube 1,000 When we will get to our Fredy models, all these principles will be applied, Although a lot of times we will not know the real distance of our objects. In this case, as I said, for simplicity, we use the cube with a fixed distance. The edges of the cube are equal. The second part of this whole exercise, we will try actually to push the first perspective basics that we learn from the first part. And we will try to bring them to another level. So if we will try to look quickly at all the parts of this exercise in the first part, as we said, we look at the principle, the basics of our perspective, but we used only one segment and rectangle, so we can understand the principles in a more simple way. In the second part, we will try to push it, as I said further. We will try to get to a cube, and we will get volume. And we will apply the same principles, only the task will be a bit harder. And by a bit harder, I mean that the principles remain the same. Only the things that we will create, the cube, is adding volume. And by this, we're adding to these principles so we can understand how we can deal with the volume objects, not only segments and rectangles. And the second part that we are doing right now, it's like a transition from the first part with the principles to the third part which actually represents the Fred models that we will use from our free D images. That's why I divided this exercise into three parts so you can understand the principles step by step. After we will finish the second part that we are doing right now, we will pass to the third part where we will understand the principles, how we can recreate the objects from the images. Getting back to our second part, what we are doing right now, we are creating a cube, 1,000 by 1,000.1 thousand as I said. So we can have a fixed distance. And I would like to show how we can create and recreate, as I said, the perspective distortion using fixed distance. So we can see what is the real deviation of our distances or our dimensions of our cube. And once you will see these principles one time, you will understand this from now on. We can say that in this cube that we are creating right now, we can include any object. This could be, for example, a piece of wood or a piece of stone. And we will create like a sculpture from this cube. That's why you'll have to see all the objects that you are creating, like this cube. The principles, I mean, as you can see now we are creating the render of our cube. We are doing this to create the perspective distortion that we will have on our images when we will try to model the fred models from that images. Next we will save this image and we will try to load this image on a plane like we did in the previous lesson. After that, we will bring this image that loading close to our cube so we can understand the whole principle. What is to bring an object to be one to one? I'll get back a bit. As I said to this image, one to one, First we got the proportion. The proportion. It's what we are doing right now. We are loading our image that we created. That's why we created this image. This image actually represents a half of what we need to bring an object to be one to one. This image actually represents any image that we will have to model in a more simple way. Of course, keep in mind almost any image that we will use will have two vanishing points, two point perspective. That's why the principles, we will create our objects from images, or should I say recreate, use the principles of the two point perspective with two vanishing points. We will input our pixels that will be out proportion from our one to one first part. The objects we can say from our images that we will have to model will be only at this stage. They will be only at the half of the stage. In this case, we will add the second part. We will add the scale, which we will not have for most of the objects that we will have to model in our future. Now one more time, I'll have to get back to our loading image process. We have to understand that the length and width and max are not the same things that we have in reality. In real life, we are actually calling the length the most long part of any object. In max, it's not like so max, the length is always parallel to x no matter if it's bigger or smaller. And the width, it's always parallel to Y. This is the system how Prides Max works. But when we get to image dimensions, no matter if there are in pixels, we actually need the proportions. The scale will be applied a bit later. The first dimension in pixels for an image is the first part, the lower part. And it actually doesn't matter as well if the image is bigger or smaller at this lower part. But in max, this is actually the width, not the length. This is parallel to x, not to x. That's why we are inverting these numbers. And we input the length where the width is, the width where the length is. Sometimes the image might be too out of scale. Keep in mind we are using a cube that has that dimensions 1,000 and these pixels are very close to this 1,000 That's why the image and the cube seem very close. I mean, the edges of the image. One more very important thing to keep in mind. The image wasn't pixels, but we inputed millimeters. That's where the proportion interferes. We need only the proportion of the image. We actually don't know exactly the dimensions of this cube on this image. Yes, we will use the scale to bring it to be very close to one to one. But for now, until we apply the scale, we will need only the proportion. That's why saw the dimensions and pixels. But we inputed millimeters here, interferes the fact that it's called a standard, in this case, millimeters inches, our standards, if we use our perspective techniques, we can find out the real dimensions using a specific scale. But the scale can be a random scale. That's why our zero line, our measure line, it's like the measure two. When we draw a model from scratch, we are using from the start of millimeter, the inches when we have only images from Internet. We don't know the scale actually. That's why first we will bring it to proportion. I mean, our model that we will model from image. Then if we want to apply it in a project, we will have to use a reference after we finish to load our image. In this case, we have the reference ready, the cube. We will bring this image close to our cube so we can recreate this perspective distortion. If you remember, we said that the standing objects like chairs, tables, and so on will be modeled in the front. You can model them in any projection of course. But it's more comfortable and logical to model them in the front as we will look at them from the front side. That's why we are using now front projection. Next, we load our image in proportion. Yes, it looks right, but we don't know its dimensions. For that, we will have to use a scale so we can bring this image that we have to a real dimension. First of all, I will cut the cube from our planes. It's a lot easier to manage the image and the cube itself. We can use different instruments for this, but usually we use slice plane or connect. I know we didn't pass the polygons yet. Still we will have to do this. This is not quite a part of our course, it's a lot easier to do this. We can operate with our image in a more simple way. Let's bring our cube from the image to be one to one with our first cube, with our reference, our proportion. It's ready, and now we have to get to our scale. Now we'll have to get back to our first principles that we used in the first part of this exercise. The first part of the edge, the first edge that we are using from the cube, the closest to us edge will be on the zero line or the measure tool line. Same principles that we use for rectangle in the segment. I know that we are adding volume and we will add another vanishing point as well. Actually, I turned the cube in the same position that we had our rectangle in the first part. In that way, the visual reference will be a lot easier. I'll have to use the projections. We will have, as I said, to use the front. In the front, it will be a lot more comfortable to do this as this object is standing. That's why when we will try to draw our zero measure line, we will have to draw this above so we can see the cube and the image at the same time. I'll move the objects a bit back. Now, a few more words about our zero line. Why we are using the zero from height, from z axis, height as the zero line. It's a lot easier. The objects that we will have will stand on the floor. You'll always have to come from the zero lines. Instead of drawing another zero line, you can use the zero line that is created by Max itself. We are doing two things at the same time. That's why we always install the objects on the zero line with the first edge that is closer to us. This edge is like actually in proportion like the first part. We are not knowing for the imaging for this edge, the real distance. We will have to install a measurement line so we can calculate the proportion and then bring it to a standard. When we are using millimeters inches to build it from the scratch, we are already using this standard. That's why in this case, as I have my cube, 1,000 millimeters, it's like building the object from the scratch. I already have the standard installed. My reference must be brought in scale with this standard. But when you use the free models from images, you will not know the standards. You'll have to leave only in proportion to your objects until you've got a reference. For example, your chair after modeling can be three times bigger or smaller than a real chair. That's why you'll have to use the reference standards. You can bring your proportion to a scale, real scale, that you'll use in your project. That is what we are actually doing right now. We are bringing our image to be in a scale, or in the right proportion, with our main reference, which is 1,000 millimeters. Now, when the proportion and the scale are installed and our objects seem to be one to one, we will have to recreate the perspective distortion using a technique. A perspective technique, we will actually use the same principle that we use for the first exercise. We will have to recreate the real distance of this object. First of all, we have to take the reference, the 1,000 millimeters that we have from the first cube, from the reference cube. And using this fixed distance, we will recreate it from the perspective distortion. But before that, we will have to install all our things that we did in the first part of this exercise. We have to recreate the perspective construction, the vanishing points, the horizon line, the zero line, and everything we had in the first part. Based on this construction, our eyes perceive this cube. So if we intend to recreate the perspective distortion which we created when we turned our cube into perspective, we will have to apply fixed perspective rules. As I said, of course, we will not do this for every single object. It will take a lot more time to model the objects in this way. Still, one time we will have to create this so you can understand, as I said, the core of what you are actually doing. Not only repeating some exercise, when we continue, the edges of our cube lines converge into a vanishing point. We will actually use almost all the time, the two point perspective. We will have two vanishing points and they will show us where is the horizon line, the line where our field of view ends. These converging lines that go into vanishing points. The horizon line and our eyes are always linked. We could have used, for example, another angle for this cube. In this case, these lines, these converging lines into vanishing points, they will turn as well. The only thing that does not turn, it's our measure tool. Now if we want to recreate our cube, we'll actually use the same principles that we use to recreate a rectangle. We will continue the converging lines of our cube so we can find out our first vanishing point. And then we will do the same to find out the second vanishing point from the right part. One more question that can appear, why we are using our front edge, the closer to us edge as a reference. You can see that I'm using the first point, the zero point that lies on the zero line, the measure line. And the second point is the end of this segment. We assume that this is the real length of an object in the scale that we are drawing. In this case, yes, we know the distance, but if we don't know the distance, we will draw anything you see in a scale that later might be brought to the scale that we need. Yes, we are using the term, the real distance of an object. The real distance, depending on the scale, the scale that we are drawing right now, we know the distance. It's 1,000 millimeters. And once we are using a standard, the millimeters, inches, we consider this segment then to be brought to a standard. The inches, millimeters, whatever. The fact is that the drawing, the vanishing points that we are creating right now. By the rule of perspective and our viewer's eye. And also the fact that we are interested in that all the lines that form this construction are drawn right. And the model that will result from this lines will be created correctly. By the way you saw that I've attached these two lines and then I used an instrument called Trim Max. We got instruments that work in pair like trim and extent that you saw, usually these instruments do separate things. Separate opposite things. For example, trim was used to cut the segment we are passing to our homeworks. That's why I would like to show all these instruments how they work in practice. Next, we are getting to our horizon line. Our vanishing points will stop on the horizon line. Everything repeats like in the previous exercise, every single principle. Soon, as I said, we will get to our practice, to our homework. So we will do all these. The only difference will be that we will do all these quickly using only our eyes. We will not construct all these lines. This will be done only once to show the principles of the perspective that we will use. Next, we will get to our second vanishing point. By the way, you must keep in mind that the drawings that we will draw on paper using paper and pencils, applying all these perspective stuff, we'll obey somehow a perfect angle of view. Keep in mind that Max is switching before all three types of perspectives. Usually we use 2.3 point perspective. Well, two point is the most used. One pre S max system is changing that automatically. You can see this even on this image that you are looking right now. The segment, the main segment, the front segment. It's not quite straight. In a perspective drawing, it should be straight. That's why I'm saying that in a classic perspective view drawing, usually all the objects are drawn right and they kind of perfectly obey the rules. We cannot say that this object is not obeying the rules of perspective. Still, we have some small deviations and we will have to avoid these deviations also on the images that we will use for our models. The rules in general lines will work with every single image. But keep in mind, you'll have to avoid using your eyes and intuition, all these small divations that actually will appear on every single image when someone is creating a Fred model. Any Fred model, by the way, you will also do this in the future. First of all, when we will pass to our homeworks, people search the best point of view for their objects. And while Max is changing all these angles that creates the perspective distortion, we as creators, recreators of the free model are usually focused on the best point of view to present our future Fred model. Yes, we are gating on a free D simulating space, but all our objects, all our free D objects will be presented on a two D surface. Next, we will have to work with our angle of use so we can recreate this object or this segment. That's why we are using one of the converging lines that goes into the vanishing point. The segment of the part of the object that we are trying to recreate is linked to this angle of use. So we will use the same angle or the same line that created this angle. We will move our pel point so we can rotate and imitate, as I said, a compass. We are applying the same distance that we have from our object until our horizon where our field of view ends. When we rotate, we find the second vanishing point of this object of the segment that we are trying to recreate. Next, we will repeat the same process for the segment itself. The segment as we said, it was like a reference. In this case, we know the distance. The distance is 1,000 millimeters. And what we are actually doing is we take the 1,000 millimeter segment and apply it on the zero line. Our measure line tool, when we will have random images, this will be done only intuitively, We will use only our eyes to do this. This will be very close, but for us, it will be enough. We will be very close, 95% to the real dimensions of that object. Next, we will connect our vanishing point that we obtain the second vanishing point with the real length of our object or the front segment. This is actually the link between the real distance and the perspective distortion that we got from this cube. And now you can see, by the way, this division that appeared, the intersection of these two lines, should be perfectly at the end of this cube. At the end of the edge of this cube. Now using this intersection point, we will draw a segment. This segment, using the perspective rules, should be a vertical one. And you can actually see that in the upper part of the cube where the converging line that goes into the vanishing point intersects this segment. It fits right. Now, the question appear, why is that? On the perspective drawing that we are creating on paper, everything seems to be right. At least it seems to be perfect and right. I'll create a camera and I will actually try to explain this a bit. We said that the camera are our eyes or our point of view from the perspective. And depending where the camera stands and also keep in mind the camera got its own angle of view. We can distort the zoom factor. For example, the zoom factor is set to one like a middle point or a standard which copy the human eye. When we distort that, we are changing the field of view, which are the vanishing points that goes into perspective. We can actually watch or render this cube from the same point with different distortions, different angle distortions. Also, tilting the camera up or down can create con diverging lines affecting the perception of death. That's why we are choosing the camera's position and composition to minimize the impact of the perspective distortion. In this case the camera or should I, point of view that we used to create this render was a bit higher. That's why this division on this image a bit app 24. 24 Homework 1 Create line Outline CrossInsert: Finally we got to our first homework. I've picked some random images from Internet and they will be our homework. First of all, I would like to link all we talked about in the previous lessons, especially all we talked about the perspective. This will be the key to our Fred modeling. I'll try to show in this first example how we will apply all this knowledge so you can see and understand visually the principles that we will use. Further, we will not model all the images that we will have. This will take just too much time. I'll model some of them. We will begin with the simple ones, and step by step will increase our complexity. The rest of the images must be finished by you. In the same way, I'll show the following examples. The principles, of course, will remain the same and they will be like additional exercises even if you are doing them not quite perfect. Keep going step by step, you'll start entering in pace. And one more important thing, in these future exercises, I'll try to show the instruments, the spline instruments in practice. That's why stick to homework. Try to practice a few hours a day after you finish all the images, I think you'll see and feel the results for sure. Let's get to our exercise. We will model this model, this first model. This model can be included in a box and we will use the our old scheme. First of all, let's install our scheme on zero level. It will be a lot easier. In this way, we'll create a plane and we will load our image with the proportions, same things that we did in the previous lessons. I'll create a V A material. I'll set the image in the diffused channel. Let's assign the proportions to our plane, as this is a standing object. I'll rotate it so we can see it from the front side. Let's use our closest corner. Let's install the corner on our zero line. Same thing that we did in the previous exercises, now using the principles that we did in the previous lesson, including this into a box. In this case, this will not be a cube. Let's try to feel the angle. This part will be the width of our object and this will be the length. In this case, we got two point perspective. So we will rotate our segments so we can find out their real length. I'll move the pivot point. Keep in mind we'll have to get rid of our perspective distortion. Of course, we will not construct all these lines for every object. We will do this once so we can understand the principles later. You will do this only in a visual way. Same thing for this segment. Let's move our pivot point and rotate the segment. We will rotate the segment and we will visually adjust, have to turn off the snap so it doesn't jump. Now our objects like this box. We will have to reconstruct it using the lines that we created. First of all, we will start with this zero point and this closest segment. As this is the reference of a real object, we don't know the scale yet. Usually, first we are drawing this first segment. We will use the length of our object that we draw. First of all, let's set our vertices on zero on the floor, so our object is straight. We will go to our third level, the spline level. This is a spline, an open spline. We will use an instrument called outline. What this outline actually does if we have a plan, just a single plan, this instrument line will add volume to our plan thickness. If we'll have a corner type, for example, it will add same thickness only for both segments and so on. If we will have a circle, let's for example a sign extrude, so you can see the difference, the outline will add thickness between the two circles. Extrude will be applied actually between two closed plants. In this case we've got an open splane. It will add thickness inside or outside this plane. In this case, we'll need inside our shapes inside it might jump a bit too much. We will do this by hand. Let's get a bit closer. You must feel the thickness, At least you will be very close. The same principle with the perspective. Now our plan turned into a plan. We can extrude our plan, the length that we need. Actually the width, will be this segment. Let's try to measure this segment. Of course, we will do all this in a visual way later, but for this exercise, we will try to recreate this so you can understand the principle. Now the second part, we have to add two different materials. We cannot assign two different materials on the same polygon, on the same surface. So we will have to cut. We will create a line. Keep in mind we have to remain, we will have to be on the zero level, so our line intercepts these points. The next instrument that we can use, we must go to vertex. We will use cross insert. It will add points to the intersection of our plans. Now we will go next to the segments and we will delete the segments that we don't need on the vertices will remain and when we will extrude our ship, they'll actually copy the exact height of this cut where the two materials meet. Next, we have to extrude. We don't know the scale of these objects. We will use only, as I said, in proportion the width of this segment. Later, we will have to adjust this object according to our project or scale scale, a standard. Usually in this case it's only in proportion, we will have to complete our cut. One way to do it is to convert to polygons and use slice plane. You can see even by the image, what it does. I'll move back our object closer so we can see the line. Let's use slice plane. We must go to and we will use the point where our segment intersects the point where two materials link or meet. Now we've got two surfaces. So in this case we will be able to assign to different materials a bit later when we will render this object in our photo studio. Now, how we can add segments? In this second case, we can use cut. For example, it's like a knife. I know that we are using level three instruments, but you cannot stick only to split instruments. You are obtaining volume, and volume usually interferes with some of the level three instruments. Now about our width. Let's pick our second object that will actually have the correct width. And let's save them. And we will go to our photo studio so we can render them. I'll save them. You save selected. Then the file that you selected, merge it into our photo studio. Here we will install these two pieces in the corner where our teapots were. We will move our teapots and you can see that our object is a bit smaller than the scale of our real interior. We will adjust to only visual we will not use for now a real scale, it will be enough. Okay, our light and everything is ready. I will move our teapots and I will install our object. And we will find a point of view. Let's install our object on the floor. And I will drag the image and the object so we are not seeing the openings of these walls. Something like that. Now let's choose the materials for our object. Again, in these exercises, we will not focus on materials. We will pick something very close, our object turned gray. That's because we are not having our material adjusted yet. I will assign the first material and then I will assign the second material. We have to get into the diffuse channel and turn the shaded view mode still we are not seeing our material. That's because we don't have, for this object, the texture coordinates installed. We will apply a quick UV map. Usually we will use the box. In this case, you will see that this is not the quite perfect method. If you want this object to be perfect, perfect texture, you'll have to use wrap like the parts, they are not correctly textured, You have to unwrap your object and assign a correct assignment of the texture. Let's turn the second texture on. Usually you'll have to bring some details so your objects look a bit better. They are adding life to your model and style this object on our surface like this. Let's find a point of view. I don't want to get into cameras as well. This is topic, another big topic. We will use only a simple view. Let's see in our interactive render if we don't have any issues. Okay, let's hit the render. By the way, don't forget I'm using bucket other progressive type. One more thing, try to add to your renders the no, it will reduce your noise and your images will look a lot better after your render is finished. Second, you can see here we've got a bit of noise. The ate, the noiser will activate. You can see here, working after that, your image must look okay without noise. Okay, let's get to our second exercise. 25. 25 Homework 2 Fillet Chamfer Edges Interpolation: Okay, let's get to our second homework. And this homework we will see what Philip and Chamfer does. These are two instruments that work with corners. I'll create a copy of our plane and we will model this object. This object looks like the first one, only we got rounded corners. We will see how we can use this instrument, fill it to round the corners of our table. First of all, let's assign the proportions. I'll load the image and we will drag our image into the diffuse channel. Now the same things that we did with the previous one, the old scheme. We will begin, as I said, to work without the scheme, only the principles will remain. In this case, we will only raise our image or our object on the zero line on our measure to actually, I will bring back a bit on the y axis, the object. So I can see the zero line clear. This is our zero line. We will use the zero level or our floor like this line. Next, same things that we did with the previous object. We've got the two point perspective. And we will rotate our segments so we can obtain the real segments that are brought to this zero line. Turn off snaps, so we don't jump. We will add somewhere about 10:20 percent to the distance. Visually, we will readjust one more time if it is necessary, when we will obtain the final object. When we got sharp distortion of our perspective, it's a, it's a bit harder, let's say a lot. Same thing for this segment. Now let's talk about our rounded corners. How we will create our corners. First of all, let's see what a fillet and a chamfer does when we got a corner. Usually we use straight corners, but it works also with any type of corners. Here you can see fillet. I'll create a copy so you can see what one instrument and the second does. First of all, let's convert all our vertices to corner. It works also with any type of vertex but it's a lot better so we don't have distortions in our fill it. As you can see we are rounding our object or our corner. Chamfer does the same, only it cuts the corner on a 45 degrees. If we have a 90 degrees angle, if you remember our interpolation. Our interpolation works here as we actually have a quarter of circle here. It doesn't match perfectly. Let's draw it one more time. If you remember, we talked about the space between two points of a circle, actually two quadrants. Let's assign to this rectangle, 400 by 400. I'll convert it. We can have a corner that we can fill it. I'll create a rectangle. I'll use 100 by 100. I'll bring the rectangle in the corner that we will fill it. Now the radius of our circle must be the same as our rectangle. The center will actually be the point from where our fill will be controlled. We are not seeing that point, but it actually controls the fillet from that point. Now first of all, we will have to change the corners so our fill, it doesn't get distorted. It will work correctly in this way. And I'll enter 100, and as you can see, this is a quarter of circle. Our circle, as we talked about already in our interpolation lesson, got a specific number of segments between the two points or two vertices. Actually our fill, it works not only with straight corners, We will use it for different types of angles. But finishing with the circle, it will actually repeat the interplation of the circle between two vertices. Let's assume that this is the same box and we will repeat the lines. Now I will use our fill it, and as you can see, well in this case these corners are straight. It must repeat perfectly our roundness. In this case. One more time, getting back to our circle, we will use adaptive. We can use adaptive in this case as this object does not go further than the level two. The same thing. Let's outline, You already know this instrument and let's extrude. It seems that it's not enough. Let's add a bit. Maybe too much. As I said, you'll have to appreciate visually, we don't have any distances, you'll have to do this using your eyes. Let's move of the first object and get to 40 studio. Let's scale the same table. Actually it's very like like the first one. Let's install it on our floor. You should use actually something very close to a table's height. Our windows usually have 900 millimeters and the table should be around 700, 715. Details are adding life to our objects or our models. We will actually assign the same material that we did for the previous object. We are not focusing on materials in this course. As I said, as you can see, this part where we actually assigned adaptive, as you can see our object, it's not going further. As I said, it remains at the level two. So we can use adaptive at level three objects that pass to level four. Usually we use for that I'll use again UV map, a simple mapping. If you intend to map your object correctly, you'll have to use wrap, but that's another big topic, we will not talk about it in this course. Let's set a point of view, something close to this, maybe move a bit, something like this. Let's hit Render. Don't forget about the nos. Well, the second object is. Let's get to the next one. 26. 26 Homework 3 Connect FFD Edge Enhancement: Let's get to the next object. I'll create a copy of our plane. It's a lot easier. We will try to model this object. As you can see, we have two levels of boxes. We say the golden parts belong to a box and the wooden part belong to a inner box. If we can say so, as I said, we will not draw all the lines. It will take just too much time. In this case, we will try to visually appreciate. In this case, we can use our golden parts as our reference or the point that will connect with our zero line. Then we will try to adjust visually the same principle that we had here. The golden elements are actually the same rectangles and the same principles that we used here. Let's try to appreciate, first of all, our rectangle should have the height of the first element, and then all the elements will have actually the same height. I'll convert all the vertices to corners so we can have simple vertices. Now let's try to appreciate visually our perspective distortion. We will apply. Let's actually bring our points on the zero level. Our object does not get below our zero line a bit. Maybe adjust this part. We'll actually have to adjust the golden parts towards our wooden elements. They fit perfectly well, at least visually. They must fit. We will do this in the end. Now let's try to use our outline. And we will assign the width of our element, of our thickness. Actually, the thickness is this one. Let's try to extrude. Actually, I'll use scale. It's a lot easier. It does not jump. We can appreciate the thickness of our elements. We will readjust a bit at the end. For now, we will have to be very close. At least these elements actually are the same. I'll move a bit back our elements so we can model our wooden part. If we took this segment to be the reference, the part that small wooden part will go under our called zero line. The second zero line, actually we will have to draw our vanishing points like this. But we will not do this. We will be very close. It will take just too much time. Let's move our pivot point and rotate our segment. We should actually use the straight segment that intersects here with our main reference to be 100% correct. We should draw the boxes, as I said, the visual boxes that include our golden lines or our golden elements and the wooden part. But we will create all this in a simple way later, we will adjust, don't forget to convert your vertices. This is actually the thickness of our element. Here. We will apply actually the perspective from below our second zero line, and we actually got the thickness of our element. Same thing. Let's apply extrude and let's adjust a bit. You have to feel visually the length and the width. That's why we are not drawing all the lines. I'll copy the elements and Listern and align them with our wooden part. As you can see we are very close but still we will have to adjust a bit. Our golden elements. Let's convert to polygons. We will use attach. We already know this instrument and let's find the place where our golden elements are actually installed. We will use one more instrument here called free form deformation. In this way, I'll pick only the part that we need to move and I'll drag a bit again. Same thing with the perspective. Our golden elements on the image are in perspective distortion. Well, we got a small segment there. But anyway, we will apply the same principles. Now to be exact, we could have used our old principle, but I think we will not be quite exact. Let's first of all adjust our first element, our golden elements, so they fit visually perfectly. Our wooden part, something like this. We will convert to polygons. We will use the instrument connect so we can find the middle of our element, the exact part. I'll delete the part, we will mirror our element. In this case, we will use x x. These two parts in this case will be 100% the same. We will attach this part. We can actually well the vertices so we can have back one part. Okay, again, let's say selected and get to our photo studio. I'll move the previous object. Let's adjust. Let's into our model under four. Let's use the same word. As I said, we will not focus on materials. They will have to be just visually to what we need. Again, the details, the details, as I said, bring life to our models. Same thing. Let's use UVW map for our box. We will try to repeat the texture from the original wooden part, from the image. By the way, you can use fit here is like a reset button for our texture. It. In this case we've got a box and the box actually is trying to fit the polygon the sides of our box. Let's use scale to adjust. Now we will have to assign gold. This gold seems very close to our gold from the image. We will see in a bit how it looks in our render. Let's assign our gold. We will find these flowers seem to be just a bit too small. Maybe we will scale a bit compared to this table. They are too small. Let's find a point of view something like this. Let's start our under our gold. As we can see, it's too orange, brown. We need a light version of gold. We can choose from another type, but we actually don't have a more light version of gold. I think they are all the same or very close. Let's trite this one again. Back to our interactive render no difference. Let's get back to our first version. We will actually adjust our gold a bit. We will lower the intensity from the diffuse channel. In this case it was use the diffuse channel closer. Well, we are, we will not focus perfectly on the materials and these flowers. I think they should be a bit bigger. They seem just too small for the table. Well, this is our object, this is what we obtained, the nos as well. One more thing I would like to focus on. Let's get it a bit further, A step further. We can leave it in this, but we should actually do a small trick we will apply, this is like a level four turbo move. But a more simple version, we will apply chamfer for our edges. The edges could not be perfect, 100% straight. All the objects got a bit of chamfer at the edges. We will apply this chamfer and it will interact with light correctly. In this case, all our objects will look a bit more realistic. Same thing I will apply for the golden elements. Let's see how it looks. You can see the edge here. Maybe on the golden parts we are seeing it more. But on the wooden part we are not seeing here, I mean, but on the wooden part we are not seeing it too. Well, maybe first of all because the gold's go and our wood is, well, at least the level of glossiness, it's a lot lower than our gold. It actually does not matter that we are not seeing it quite obvious. It will interact with light in our renders. That actually matters. Let's push it a bit further. I will create a light so you can see the interaction of our wooden part. We will use this chamfer on our future objects. When we will model our future three D models, the light should have a temperature. First of all, that temperature should fit the interior standards. I will bring it to 4,500 K. Let's create a more obvious chamfer. In this way you will see the difference. It's like a transition from one side to another, and in this case, it looks a bit more realistic. We will actually leave it like this. Let's readjust our object and I'll hit Render again. As you can see, our object now looks a bit better than the first one. You can see the edge here. The light on this wooden part interacts with this side here. We have no lights. Well, something like this. Let's get to the next object. 27. 27 Homework 4 Equal edged objects: Let's get to our next object. I'll copy the plane. Same things for every single object. We have a coffee table. We actually got two images, two models of coffee table. So model one coffee table and the other will be on your own. They are actually very alike. Same thing. Let's copy in the diffused channel, the table. Let's try to modulate our table. It's a rectangle. I'll use the point of our three elements, the lower point, as our zero reference line. This will be the thickness of our elements. First of all, let's convert all our vertices to corners so we don't get distortions. Now let's adjust a bit. It's a lot easier to find out the perspective distortion to get rid of perspective distortion on the side that got the less distortion. Of course, in this case we will use the right part and the same thickness will go in this direction. Let's try to actually measure it. We will extrude the same distance. We can actually use chamfer for our edges. We will adjust a bit, we will see how much. Usually around 67 segments, this will be actually enough for the edge. Some do use three or four. It's, well, not quite enough. It's a lot better to use seven or eight segments. I'll create a copy, actually two copies. Let's try to model our legs. Our table legs. We actually don't know the connection between the three elements. We will assume that this will be the connection between them, I'm not sure. Let's create a cylinder and we will actually try to adjust the radius of our leg. We are not seeing the lower element of our legs. It seemed to be like some black parts. Let's create a small rectangle on this axis. I'll use a line. We will use the minimum to maximum part on Z axis so we can feed them perfectly. This will be, I think, the lower black part of our leg. It seems that our radius our legs a bit too thick. Let's adjust it. Perhaps it seemed that the reflection of the rug was there too. When wisdomed out initially, we see the edge here. Well, something like this. As I said, we don't actually know the real connection part between these elements. We have to see it. It may be a connection in the middle, I don't know. Let's use the legs as a connection between these three elements, although I believe it's not really like this in the real object. I'll increase a bit the height, we can actually match the cylinder that's closest to our reference segment. We also got the rug, but we will try to adjust as close as possible. We will have to use this distance for other elements as well. I do believe they are installed at the 45 degrees in the corners. So we will visually bring them there. Same thing for these two legs. Well, something like this. Let's get to our for the studio. And we will move the previous objects. We will try to render this coffee table. I forgot to group. It will be a lot easier way to adjust. I usually look at the window when I'm scaling as a reference, so our coffee table seems like an interior object. Let's bring our table on our floor. Let's put our decoration on our table. Let's use a line. Now let's try to assign some materials to our objects. As you can see, we got a white material. Let's for example Peak plastic. This is a black plastic, a black glossy plastic. We will turn it into a white plastic that's esulate our selection and select the elements and our legs. We can actually assign the black plastic to these lower parts of our legs. We also need a metal ache or something like this for our legs. Let's search for a point of view. I'll actually install the background image so we can see it. And actually I'll scale it a bit so we can see our model and our reference at the same time a lot better. Let's see what we obtain. I'll start our interactive render. I don't think this white material is so glossy as we need. Perhaps we will have to adjust. It does reflect, but we will have to increase a bit. Let's use the reflections. I'll unlock and I'll bring a bit higher our level of reflection for this table. Think it's better. We actually do have this type of strong reflections on the reference on the image. Again, let's find a point of view that is actually copying the reference, the object on the image. Something like that. I think, I think it's okay. And let's press render and we will see what we obtained. Well, this is our image as you can see. We got reflections, we also got the edges that we signed. The decoration part slows a bit render, they should finish in a few seconds. Come on. Okay, the denoiser. We actually have our object ready. Okay, let's get to the next one. 28. 28 Homework 5 Spline Mirror Trim Extend Fuse Weld: Let's try to model our next object. First of all, I would have to say that this object, it's a bit different. Here we have one point perspective and its edges actually converge into one vanishing point in the center of our object. We can even say that the front edges of our object are almost two projection. These type of objects as they got almost no perspective distortion are a lot easier to model. That's why when you usually don't have the plants or two projection of an object, the type of front views are quite similar to the two D projections. Okay, let's get further with our object. We will load our image and our proportions, same things that we did with the previous objects reference image on our plane. Let's reset the segments, and let's start our modeling. First of all, let's install our objects on our zero line, something like this. Let's try to draw our object. Actually, there are a few methods how we can do this. Keep in mind the projection is not quite perfect. We are almost 100% close to a projection, but still we got a bit of distortion, a few percent. Let's create a line. We have to weld the vertices. Let's instyle our points exactly on our floor, on our zero line. Don't forget to convert to coroner. Let's just a bit o points. First method that we can uses to create a line. Actually this line will have to repeat or continue our lower lines, so the line keeps the angle. But we will model this very, very close using this method with two close contours. It's the most simple one. Let's adjust the same height for our both vertices. We will actually adjust a bit here. We will try to copy the angle so it feels that the lower and the upper part belong to one line. If we want to obtain volume, first of all, we have to obtain plans. Then we will apply extrude and we will actually bit scale so we can adjust. Let's add our edge enhancement. Let's add our jumper. Actually, you will do this for every model that you have. If your objects will pass level three, you'll have to do this using turbusmove. Well we are very close. Let's actually try to model this object using another method. The first one was the quickest one. This method that I want to show includes some of the instruments that we didn't pass. They belong to the level three sub object level. We talk about mirror. This mirror is actually done inside an object, if we can say so. Usually we use these when our objects got symmetry. Meaning the left part is the same like the right part. The three buttons of our mirror actually mirrors our spline. Depending what button we are using, its x, y, and z xs. We will try to apply this principle to this object. In this case, we got only a few vertices. But if we would have a bit more complicated shapes, it will be a lot easier to mirror one part. I will have to use the middle snap so we can actually cut visually our object exactly in our middle. This rectangle below our object. It's only helping us. We will try to model, as I said, only one part. And then we will try to mirror. I know this method seems a bit longer than the previous one. In this case, it seemed that the first method was a lot better. But if we will have, as I said, more complicated shapes, this second method will be more useful. First of all, let's get our vertices on the same line. We can bring them using our coordinates. Let's do this using another instrument. This was the first method. And the second method would be using from this blind instrument called and extend work in there. In this case, we will have to cut, that's why we will use the first line. I'll delete the helping line, this middle line. And now we will have to actually mirror the first part. Let's adjust a bit and we should keep the go. We could have draw a line and use stream so can obtain a perfect angle. So let's use our mirror. I'll select our entire spline or our entire part. Strange why did the vertices move. But in this case we will use another instrument that we will have here. We talk about fuse Use works in the first sub level. At the vertices level, it brings two points or two vertices into one point on one line. In this case, our lines belong to two projections. We will actually bring them to our middle. Then we will have to weld our shape and we can actually remove our points. We will press Delete, and we will create a single line by removing our vertices. Okay, next we will apply our extrude, and we will actually copy our chamfer here. Next, let's get to our photo studio. Save selected. Let's move our previous object I brought to models. I brought to lamps. We will actually install the lamps like we have in our image. Let's scale the object. I'm trying to see the windows so I can have a reference of our real scale. Something like this. I'll get a bit closer, our table to our wall so we don't see our window. And let's install our table on the floor. Next, let's apply our previous wood material. Now as you can see here, we have different directions for the texture, for the wood texture. For that we will have to use wrap, But in this case, first I'll use UV Map. We will see how it looks. I'll try to apply quickly. But wrap, as I said, it's not a part of this course. It belongs to advanced texturing First, we have here to learn to model. That's actually our goal in the second part of this course. Okay, I will apply UVW map. Let's align our lamp. I'll lower a bit of lamp on the surface of our table. We need a second lamp at the same distance. I'll create another lamp that is very close. Then we will group, and actually we will use a line so we can install their common pivot point right at the center of our object. In this case, they will be at the equal distances. Let's move maybe a bit so we can see the reference. You'll have to feel the point of. First of all, let's see how our lamps look in our render. I'll include our integrated render. They look fine. The only difference material on the image, it's white. You can see we have our edges that interacted light from our chamfer. Let's see this a bit closer after scaling. I think our chamfer got a bit smaller. I think I will add a bit to our chamfers. We can see a lot better, the effect, it looks okay in general. Still the edge, I think this side part, it's not quite okay, this texture. I'll create a copy and actually I'll try to apply and wrap so we can correct that texture. It's looking not so good. Well, after unwrap, it looks something like this. In this case, it's a lot better. It looks a bit more natural. Keep in mind if you want to model, you'll have to get to unwrap. I know this is not a simple topic still. This is a topic that you'll have to pass. You'll compare the first render and the second one. You can see that now with the issue gun, our model at least looks fine. You can see here the light from the window in tracks with our edges. Well, that's it. Let's get to our next model. 29. 29 Homework 6 Path Section Sweep Shell: Let's continue with our free de, modeling. We actually divided our homeworks into four parts. In this lesson, we will pass to the second part. We will talk about paths and sections. A big part of the two level objects are created using the paths and sections. We will start with some simple objects and also we will talk about sweep. This is an instrument that we will use very often. We will take a look at it in a second. First of all, I'd have to mention that we got objects that got multiple sections. In the second part of this course, we will talk about objects that are created using only one section. I'll draw visually a line. This will be like the mark that we pass the first part. By the way, the objects that remained, the remaining objects from the first part will remain like an additional homework for yourself. You'll have to do them on your own. Let's get to our first object from the second part. We will use this lamp. It's one of the most simple objects from the second part, I would like to explain, based on this model, how we will use our instrument swip. First of all, I will draw a line, simple line, and we will apply our modifier, sweep our modifier Got two types of sections. It got ready sections or they are called built in sections. You can see the list below. We got custom section, We will talk about custom sections later. Here you can see the list of our di sections. We will start with these ones. You can see we got a bar, we got a cylinder, we got a pipe, and so on. In a way, we can say that along this line we are using one of those sections. And that section actually repeats the shape of our line. In this case, our line is straight. Our section or object that uses this section will be also straight. If we will add a point, we will start to bend or give an outer shape to our line, which is actually the path. That's why we are calling path section using the first vertex. By the way, if you remember, we talked about the vertex's numbers. I'll switch a bit back so we can refresh this info. You can see here we have our first vertex on this vertex, we apply our section that we choose. This section actually goes along the path along the line that we created, creating a free object. Every section got its parameters, depending what section we are choosing. That's why we can choose radius, thickness, and so on, different parameters. In a second, we will apply this to our object, you'll get the point. For example, we can choose another section, and you can see we've got another parameters. Let's get back to our pipe. Now, one question. If I want to bend or around our corner, we can do this using our instrument fill it. I will switch to wire frames so you can see the result. You can remember our interpolation and the steps that you see there are the number of steps that will receive on our fred object. We can use adaptive depending depending if our object goes or not above our second level, if you remember the handles, we can adjust our shape depending on what we are trying to obtain of all. This will be a lot more clear when we will use this based on a real example. Let's pass to our lamp. In this case, what are we interested in? It's the golden part that we will have tomorrow. Same thing, same steps. Let's install our lamp on our zero level and we will start with the lower part. We can actually use a cylinder. Don't forget to add edges or sides. Our cylinder got a bit of distortion below our zero line. We will start with the line that actually repeats the sides that are set on our zero line. We are talking about lines. We can actually do this using a cylinder, but we will use a circle. We can do this with instruments. Our new instruments. Let's adjust the radius of our circle. The part that you are seeing that goes below this circle. It's actually the part that goes into perspective where we got our distortion. We will try to receive our height or the thickness of this element. White element, I think it's some marble. Let's apply extrude. In this case we can use adaptive. Our object does not go further than the level two. Let's just a bit the height, that's actually the part that we are looking for. What distance it got. Well, this distance, we can understand that this is only a proportion. This distance. It's not real. It belongs to the scale that we are using right now. But this scale, as we know, this is a random scale. But being on our zero line or our measurement line, we can use the real dimension. So we can adjust our element and bring it to a dimension that we need. We can actually use Chamfer, We can obtain that effect of roundness at the edges. Don't forget to add segments. It looks a lot better. Somewhere around 78 segments will be enough. Next we got a small cylinder. We will maintain the z axis. Let's adjust the second element, the second cylinder. It's a lot smaller still. It remains at the middle axis. Let's use a line so we can set it in its place. And let's adjust its radius. We will use the image so we can it's dimensional proportion. It should be correct to say something like this. Let's adjust our per our chamfer. We'll have to adjust this element. We will change a bit our inputs. Maybe we should add a bit here. It seems that the edges of the marble element on the image are a bit more rounded. Okay, let's get to our main element, our golden element. How we can use our new instruments sweep and how we can obtain this element. We can use a retangle, for example. This is not the only method, but it's a very simple method to obtain this element. First of all, I would like to explain the dots that you see here. Before we get to our rectangle, I would like to explain how we will apply the section here. You can see rectangle nine dots. It's actually the center, the lower part, the lower and right part, and so on. If you remember the vertex that we are using, it's actually using another color. In this case it's yellow. Our first vertex, when we apply our section, by default it's applied in the center. In this case, we will use the center, but we can change the section depending what we are trying to obtain. In this case, we will try to use the center. That's why we will use a rectangle for this lamp that will actually be at the center of our element. We will try to find the edges and the center and the section that we will apply, the cylinder or pipe, it actually doesn't matter. We don't see. The inner part will be according to the center of the golden element. That's why we are trying to obtain with the rectangle, the middle part. Let's adjust our segments according to the middle. Something like this. Further, we can use fill it, it's a lot easier. We could have used circle sand trim, but it will take a lot more time. Let's use to connect our points. We will use, well, we can obtain one point. In this case we will obtain a half of a circle. We can actually be just our points. They seem a bit lower than the center of our element. They are almost there. Something like this. Next we will apply our instrument sweep. It's actually a modifier. Actually, we could use a pipe as well. Let's adjust the radius. As you can see, our rectangle, which is the path, repeats the shape. Our cylinder, which is actually the section we'll give volume to our shape. We will obtain our free object, or our free shape, that we will use for the golden element. Let's go further with our lamp. We will use the same circle. We've got the same axis. We don't change our axis. And let's install it and find the radius. We'll actually adjust the radius according to the image. As you can see, we've got some edges lower and above this lamp. They are actually like double edges of the white elements. We will try to repeat them in this way. We'll repeat the same model that we have on our image. Let's actually use a line, a exact. Let's create this second element, thicker element. And we will imply the same from the upper part. We something like this. Let's use outline to create this element. Use the lower, these lower elements to create the upper part so the edges are fitted perfectly. Same thing. We will use outline. It jumps a bit. That's okay. Let's try the input, and let's supply the extrude. And let's actually bring all our objects on one axis. I'll copy the upper part, the upper element, we will actually use many to maximum on z axis, so we can put it in its place, something like this. The details will enhance the realism of our model. We can actually use shell. This is a modifier that extrudes the object in all directions. In this case, it will add to the thickness of our element. It will be a lot easier to modify it in this way. This modifier actually belongs to level three, but anyway, we will start to use it as we progress towards our modeling. Let's bring our model to our photo studio and we'll try to render it. Let's actually use a lamp that we had in our previous example. In this way, we will try to take the materials and the elements from that lamp. We don't bother with those actions. We are focused on modeling and we are not focused, as I said, on materials. That's another big topic. Let's align our lamp. We can actually align it to our surface. Bring a bit up our initial image so you can see the reference in the lamp. We will try to apply the materials that we got from here from this lamp. We will not bother as well with the light part. It will be only a simple vi ray light. So let's copy the material and we will apply it on our image. We got a white material. This material, it's a bit darker. But anyway, it will repeat the translucency and the effect of the lamp. That's actually what be interested in. Now, the golden parts, we will use the previous gold. The lower part, it's actually a white marble. Let's use marble or stone from the ray material library. We don't have any marble here. Let's, let's use a simple stone. Let's use box. It will actually be so called marble. As I said, we will not focus on materials. It will take just too much time. Well, we are close. Let's see what we obtained. End our light, of course, so we can obtain the effect of an active lamp. Let's align our light. We will see how it looks in preview in our interactive render first. Then we will start our main render. Let's find a point of view trying to get the reference and the model both in one image. Maybe not so close using cameras, it's actually a bit better. They can be fine adjusted. Well we are, yes, our material is not white still, it's a yellowish bash material. Let's actually choose our light. One thing we have to do, we have to assign thickness to our lamp. To this material, we can obtain the translucency. The polygons that we got inside are black, if we can say so. They are not flipped. That's why we will have to obtain surface. We can see the translucency effect our add shell and then we will adjust a bit our light again. Um, I know this is a quite big topic. Materials are quite interesting, but we will not talk about materials here. Maybe I'll just a bit our reference so we can see it. Well, we are close. Very close by the way, in our image, our light, it's not turned on. But anyway, something like this. Well, let's start our under. Well, this is what we obtained. Okay, let's get to our next object. 30. 30 Homework 7 Combine sections Weld Break: Let's get to our next model. By the way, you'll have to model this lamp by your own. It's very like our model that we did in the previous lesson. Let's try to model this lamp as you can see. We got some details, Here we go, actually on one axis, different sections. Well, axis is one, but the sections got different dimensions. We will try to do this and understand on a real example how we can do this further in our homeworks. Let's load our image. Same process. In this case our image is a bit bigger. Well, let's take a closer look to our details. We got rectangle. Rectangle, two details and we got a cylinder or a pipe, whatever the main fact that they are on the same axis. That's why we will have to model one line and then we will adjust these sections. First of all, let's start with our lower element. We will set on our zero line. Let's try to adjust our er element. It's a rectangle. We will convert it to a spline and we will turn our lertices to corner. Let's adjust the lertices according to our image, and let's use extrude. We will use the height for our element from the image. I'll move our element a bit back and we will get to our main part of this lamb. This is actually the almost the same thickness. It's almost the same thickness, very close. At least it's strange why it's not equal, well, whatever. But we'll use the dimensions that we have according to the proportions that we see on this image. Next we have the section, this pipe or cylinder section. The main thing is this part, we can connect three points or three lines in one point, at least at level two. We can do this at a polygon level there. We can connect as many points or vertices as we want. But here we cannot do this. That's why we will actually skip this part. Let's create a rectangle. We will convert our vertices corner and back to our problem part, three points part. You can see even on the image where the three points connect. The upper part, it's attached, it's been attached later. We can see the science here. That's why you'll have to do this using level three instruments. But that's another course, of course, first of all, why we draw a rectangle, we will use this rectangle as a path. All our elements belong to a single path, although they got different dimensions. Actually different sections will be. Adjust our section just a bit so we can be right in the middle. We got a bit of distortion of perspective distortion there. But anyway, we are very close. First of all, let's draw a line. This line will actually repeat the bottom part of our cylinder, of our pipe, the part that goes underneath this line. It's actually the same thing like we did in the previous part with the marble lamp lower part from the previous lesson. Now we will try to avoid the perspective distortion. We will bring our element a bit up, we can obtain the thickness of this lamp. Okay, let's attach the two lines. In this case, we will obtain these small parts and we will use the cross insert instrument to obtain points. Exactly. Vertices exactly where our elements connect. First of all, I would like to show the three points part problem. If we got a line and the vertex that creates the angle, it's welded. We add a third line. You can see that visually it seems like it is connected with our first element. Actually, it's not connected. We cannot weld three points in 1.3 vertices in one point. That's why the third part that interferes in this case, this is the part that holds the lamp. The upper part of the lamp, it cannot be connected. At this second level, we have to use more advanced instruments. We have to use polygons to do this. I'll break this part. You can see the problem. The two lines that got the sections actually agreed to different objects. And when we press weld, we connect them. When we bring our third point here and we try to weld, we cannot weld it. That's why the situation when we got three elements in one point cannot be solved here. We will leave it like this. It's a problem that must be solved, as I said, at level three. All our elements, although they belong to one axis, we got different dimensions. We will detach those parts that we obtained. Three parts we will try to assign, we will try to assign these dimensions. First part, let's actually use the distance we obtained from the lower part that we measure there. Keep in mind it's not a real distance. Of course, we know that this is only a proportion in this random scale, but it fits the proportion according to this image, By the way we got here radius a corner radius. We can avoid the champ part and use it from here. Now the next elements, the two small elements that connect these three elements, the middle part, they actually got the same distances and the same section. Like the lower part only part, we will try to apply chamfer so we see them. The lower part actually got more dark gold if we try to analyze it from the image. But we will leave it like this. We will see the difference between these elements. The shadows will show it. That's why we apply it here, Champ. Now the third part with this, with this problem part, we will actually not see it. A, we will not see it still, we have to keep in mind that the problem is present. Now we will apply a cylinder or a pipe and we will adjust according to the image, something like this. In this case, our path worked as axis. For all those elements we obtained lower metal part of golden part. The upper part of our lamp seems like a rectangle. I'll align it so we can have the same access. Let's adjust it and we will create the same part. The second part equal to our first part. Let's set the lower part on the same axis. And this 12, let's create actually those edges like we did with the previous example. It will be a bit more realistic. I know they are not there. But anyway, we will try to go with realistic parts. Let's use a line. In this case, they'll be perfectly fitted. I will delete the outer part and we will use out line inside. Let's adjust the hive close. We will leave some space for this edge, this lower edge. And we will copy this edge here. Something like this. Let's say selected. And let's get to our forest studion, our image. It's a bit bigger than the previous images. Let's according to our table and our window. Actually, I will use the material and lamp the light part. Let's use the line to install our lamb. And actually drag our first lamp first elements like this. And let's use our lamp, our scale a bit, our image like this. Let's use the same materials that we used. We will not focus, although the upper part of our lamps white. Actually, we don't see the elements that we modeled. Let's create an angle like this. Yes, this parts. Let's assign our previous material to this part, and the gold to this metal, golden parts. Okay, it jumps a bit. Yes, like this. I would like to see these parts that we model. These details. These details actually bring life and realist to our object. Let's find a point of view. Let's hit it. Should look okay. Maybe a bit more light. It's okay. Here's our lamp. Let's get to our next model. 31. 31 Homework 8 Attach Multiple: We will try to model this table, this coffee table. Let's copy our plan. The same steps in this exercise. We will try to see how multiple attached works. We got a lot of elements that are the same, they look the same. We will try to model one element, and then we will try to attach it to our main shape. And then we will try to use swip and create the dozens of elements that we see here. Let's find our zero point we got here to point perspective. And we will try to create a rectangle and copy this part of the table. We got a perspective distortion, but it's actually quite big. We will try to increase the ten, 20% First of all, let's convert our points. Let's adjust our lower vertices as well. On the zero level here, we will try to find the middle of our section that we will use. We'll actually use a bar section here. Same problem, we got the corners with three elements in one point. As I said, we will now this problem, this problem must be solved, at least at a level three object. We have to use level three instruments. One more thing, our table seems to be a rectangle. We will actually copy our rectangle part. We will try to model it in a rectangle shape. Now let's use first attach. We see the multiple attached under our attached button. We will get it in a second. Let's apply a Sp here we have a bar section. Let's switch to a bar section. Let's visually adjust how much we can use for this section. Of course, these numbers are only in proportion according to our random scale that we are using for our image. Now here we have, as we said, the problem part. The points or three vertices in one point part. We will just leave it as it is level three actually got weld at the level three instruments when we will pass polygons. But that's another topic that's big topic we will use for now only the level three instruments we got here. One more element, that it's actually not in the middle. It seems to be like a golden ratio, I think 61.8% Well, we will appreciate it visually, I think here. I'll actually delete that part. Now, I will try to copy, so we can get the same point at that same distance. We can create a line using create line. Now we have to create these elements, the square elements. I'll select only these lines and we will use them actually for our element. Let's disable sweep for a second. We will snap our elements so it fits the same axis, our main elements of our table. I'll copy. We can even count the number of elements. But we will not do this. We will do it visually. Something like this. We are close. Let's delete these parts that we actually don't need. I will select all these parts. We will try actually to adjust visual according to our reference to our image. Let's group these elements. I'll bring the image closer so we can see the reference a bit more clear. And let's use our modify form information. We can appreciate visually how much elements we need. Let's delete these parts that we actually don't need and we will use only these parts that remained inside our table. Let's select all these parts and we will apply one more time for foreign deformation, so we can adjust the parts according to the distance between our elements. I'll convert spline and let's group them for now. I'll apply the sections for our main table and then we will see how we will adjust all these elements. We must now forget that here we have the marble or wooden part. Depending on option we choose from our image, we can use extrude for this part. Now I'll select our main table, our main metal part table. Let's enable back our Sp. This part, we can actually use a line, but I will bring it visually at the level of our table. The main focus will be on these elements actually in this exercise. Let's try to use our multiple attach. First of all, let's use a time of reform deformation. So we can actually adjust. Here we have a problem, a small problem. We can actually adjust our elements according to the new sections and new distances that appeared. We will get to that small problem in 1 second. Now first of all, let's select one element. See what name does it have. We can see that Max is creating the names in a row. Instead of attaching them by using click on every element, we will try to use the new function, attach multiple. In this case, we will attach all these elements are thin section. Let's adjust the same section we think we will use the cylinder for example. Now, our weld problem here. First of all, let's, let's see if our problem got solved. No, it didn't. These elements actually jump because they got the handles, the bezier handles, if we want to adjust it properly. That's why we are actually converting our vertices at the beginning to corner, They reset those angles. I'll select both vertices and I'll press Weld. As you can see, we got here also a problem. We had to convert them initially. I'll switch off for a second hour sweep. Let's create one more rectangle so we can actually replace our initial rectangle. We distortions. I'll delete those segments and we will apply our main. Let's bring this part in its place and actually let's attach the rectangle that we obtained. Well, we can say that we solved the problem. The problem must be solved in another way. This is only the beginning, but as I said, this belongs to level three. Let's get to our for studio and let's try to render our table. We've got a problem with the pivot point. I'll bring it close to our table. This is our detail decoration part. Let's select our previous object, and let's move it, this one as well. Let's adjust our Sand according to our scale. I'll get closer to our windows so that adjusting, it's a bit more exact. Let's turn our reference image and move it a bit back. And let's install our table on our floor. Let's align our decoration part, our center and the align on the table, not center. Actually, let's install it for now. Here we will see how it will look in our render. We can actually use the center, but I will visually put our decoration, for example. Here. It's not so important. The main part is how it will look in our render. Now let's assign the materials to our metal parts. Actually, we can use the black plastic. Of course, it's not plastic metal but we will use for now our plastic Let's enable back our Spp. It's a painted black metal but it will be for now. As I said, we will not focus on materials and let's find some marble. Again, we don't have marble. The wood that we got there, it's a bit more intense. But anyway, we will use the previous one. It should be close, at least. Well, let's try to adjust a bit like this. We can leave it. It was actually applied. Let's find a point of view. I would like to see the reference as well, but the main object must be in our main view, we something like this. Let's render. Let's see what we obtained. This is actually our render. The render. It's almost finished. I don't know. Maybe the marble table looks a bit better. This one, It's not looking bad, but still I think the marble table, it's a bit better. It looks a bit better. Let's try to create the marble part. Let's see the difference. I've created this material. As I said, I don't want to get too deep into materials now. Create something to what we see on our image. Let's see how it looks. The first one and the second one. Yes, the marble part looks a bit better than the previous one. It definitely does. Well, this is our object, so let's get to the next homework. 32. 32 Homework 9 Connect copy: Let's get further. Let's try to model the coffee table. We will use an instrument called Connect Copy. First of all, let's load our image in the same previous steps. A lot of models that use sections will have some structures. This is one of the instruments that can help us to create structures fast. Again, our three point part problem. We will skip this. You can see even on the image that the part it's attached later. I mean the leg part, our connect copy works. For example, if we have a rectangle and we will copy inside our spline this rectangle and we would have to connect the parts, the vertices between them. We would have to create lines. There is another instrument that can do these faster connect copy. In this case, we can create a structure. But keep in mind the previous. Yes, these parts, the previous parts will not be welded. They will be only visual attached. Well, not attached. Linked or snapped in the same points in the same vertices. First of all, let's install our, our lower part of our table on our zero line. Let's adjust the lower part of our user circles so we can model these lower golden parts. By the way, all the objects belong to modern style, They all use the gold. That's why we got so many golden objects. Next we have to create the legs. The legs should be at one third of a circle. If we will use the part that actually repeats the middle, then we will have to create parts that got an equal angle. Will divide our 360 into three. We will obtain 120 degrees for every part. Next, we will attach all these parts so we can obtain the vertices in the same place where our lines intersect our circle. Let's use our old instrument, Cross, Insert. Keep in mind you will have to use just a part of the instruments that we actually got in our splits. I know there are a lot of instruments there, but actually when you model, you'll see that you'll use only maybe a half of these instruments. Let's turn on our in copy. First of all, I would like to raise our upper part. We got here. One more problem. Where will this section go? In this case, we use the zero line. We will actually use the lower part of our upper circle. In this case, we will be almost 100% close to our shape from our image. Let's use a bar for our new shape. Next, we can actually measure the thickness. So we can apply the same distance. We have to be very close with that distance. As I said, we will use a bar, so we will use the same distance for the length and width. Now we got one more problem. The parts that actually were angled, the parts that were for angles are not turned according to our middle circle or our center of our circle. We will have to crack that manually. We will have to actually, there is actually an instrument called Bridge in the level three where we will get to polygons. But in this case we will turn that by hand. Here as you can see, we've got the same problem. We will actually only drag our vertices so they visually connect as close as possible. Let's try to select our Vertu if you can see the polygons lower. If you can see the polygons actually are arranged perfectly on the lower element. That's why I said that we will actually use bridge if we will have to do this using level three instruments. But in this case, we'll only adapt. Let's move it just a bit. We got the X, Xs. If we will try to turn, we see that we actually got a problem. We will have to detach and turn. That's not the way, as I said, to do this, but in this case, using only our level two instruments, just in this way. It's a more primitive way, of course. But anyway, by the way, the connection between those elements must be done using the same instruments, bridge, weld, and chamfer. We got these instruments here at level two, but they perform actually at level three as well. Let's bring our vertex bit up. The intersection between polygons usually form artifacts in the render. These are, for example, noise or black dots and so on. That's why we are bringing our vertices a bit up. We got the minimum and the last part, same thing here, we have a problem. We got the same vertices that the same coordinates and we will actually move. Let's move a bit of our segment actually. And the lower parts of smell. Now, the marble part of the white part. How we will adjust it if our section is almost according to our initial reference? First of all, let's find the radius of our white part. We have to adjust according to this height, this element very close. One more thing, we have to adjust our lower part, our golden part. We got a bit too much distance between the edges of our marble and our golden part. Let's apply a champ, for example. Like this. Visually it got the roundness on the edges. It looks okay. And our lower part as well. Let's apply the same chamfer on these parts as well. We will apply our chamfer again, the same problem. Let's move a bit our vertices, so they actually feet, they got rounded. So we will lower them a bit like this. You can actually see that in reality we got the same process. We got no perfect attaching to our main circle parts. As I said, we are a bit out of range just a bit. You can see here a small distance and we will try to adjust x and y just. In this case we will be a lot more closer. Just too much. Just a bit. Maybe like this. Okay, let's say selected. Then let's get to our Forest Studio. Let's move our previous subject. I'll try to re scale our table. And that'll bring the image be in front so we can see our reference. The table will get closer to our reference image. Let's install the coffee table on our floor like this. Let's install our details or our decoration on our table. Maybe there should be a coffee cup of coffee. But anyway, let's use the previous gold material for our gold metal part. Actually, we can use the same marble that we use for our previous table only. We will have to adjust it with UVW map. Let's turn to box. I think I will scale a bit. We can see actually a small transition between our edges. Let's adjust our image. I will bring back our model. I would like to see the reference as well. I will adjust a bit our reference and the model in a way that we can see them both at a time. Well, something like this, close. Let's get vender and let's see what we obtained. It looks fine. The denoiser again, the problem parts. They are almost, maybe here we can see a bit of a problem, but they are too small. As I said, we will not crack this. If you can see the reference as well, we will have to create the same thing that we see on our reference image. Okay, let's get to our next object. 33. 33 Homework 10 Divide Connect copy: Let's get to our next object. We will try to model this table. As you can see, we've got some legs that are equal distance between them. Let's try to load our image. We will use for the image the same instrument that we did in the previous lesson. We will use connect copy, but we will add as well an instrument, a new instrument called divide. In a second, I'll show how it will work. Let's load our image. First of all, let's take a look at our image. Our table looks like a box only thing that the box edges do not reach our zero line. I'll try to show this principle on a rectangle. Let's convert the vertices. It's like a box with a fillet applied on the corners. In a way we can say that we should use the zero line that connects our vanishing points. In this case, we will try to do this visually without creating our lines. The second part, how we will create all these elements. Let's create a line. We will try to use an instrument called divide. How we can divide a segment, a line into equal parts. In this case, we got an instrument did at the segment level. If we 0.1 segment, then our segment is divided into equal parts. If we use two vertices, then our segment is divided into three equal parts and so on. But for our case, we will actually use three. We can obtain our five elements there. Next, we will use the connect copy in this way. This is the principle of how we will obtain our legs. Of course, we can obtain these using different methods, but this is one of the most easiest methods that we can use. Okay, let's create a rectangle. Same process. Let's convert to spline. Let's find the edges of our table. We can say that it's somewhere here. I know it would be a lot easier if we would draw these segments, but in this case we will do this only visual close and let's find the width of our table. Something like this. I think next we will apply or fill it first at two points here. If you remember obtain two points. That's why we'll have to and then we'll have to weld can in one point in the end the same here we'll have to fill it. And here we will have to, here we'll have to fill it. Then we will fuse and weld. Now how we can obtain these equal parts. Now we will actually have to install an object. We will use an object that will help us to create these parts. Let's appreciate visually where it stands. We will use a line as well to install this object. Right in the middle, there will be our segments that we will actually cut and then divide the same center will use, this is the center of our table to create the parts that are along the length of our table. Visually something like this, I think. Let's attach these parts. Let's create actually a copy in case we need some elements in the process. Let's get to versus, let's use our well known instrument, Cross Insert. So we can install our points here. Then we will use these points to create the connect copy our legs. Let's delete these parts that we actually will not need. Let's divide these parts so we can obtain equal segments. We will use our divide next. Let's select our lower part, our enable connect copies, so we can connect copy our legs. Let's install our part here closest to us, edge as a reference, so we can find out the height between our lower and upper part. Something like this. I think we don't need these segments. Well, we are close and let's apply sep, we got a bar. The only thing that we will have to find out the length that we actually need to apply, that's the number that we need. And the same problem, the three point connection. We will not get to deep into these plans, the same process that lead in their previous exercise. We can use adaptive for our shape. We can actually use the so called chamfer, the corner radius for our section. In this way, we will apply some kind of chamfer to our edges. Now these parts we will have to adjust. Let's turn these elements. They are too visible. This problem is too visible. We can adjust same things that we did in the previous exercise. I will create it in a more faster way. We don't spend too much time on this. The principle, I think it's clear, as I said, we will have to use Bridge Welch at level three to create these parts. Sometimes we'll have to use even cut depending what method we will use. Let's visually adjust them so we obtain something very, very close. Same process for all these legs. Now the black part, I think it's a black glass. At least it looks like. Let's select our and we'll use the same shape. Extrude it and let's visually apply the width that need the thickness of this black part. It's jumping. Let's input, now we got a small problem. The black part, it's not fitting perfect, the edge like here. Let's adjust that. We got a problem. We will have to switch our pivot point. It's not in the center, it's not equal. No, we will have to do this. Let's switch our pivot point and we will reset our skiing. Let's reset back to 100. And then we will adjust in this way, it will be adjusted equally from both sides. Very close. Same process here. Okay, very close. Okay, The same process with every single vertex like here. We will have to raise every single vertex. I will not spend the time here. We will just render our object as it is. Let's say select it and get to our photo studio. I'll move the previous subject, and let's bring go table in our front view. Let's adjust our reference. Let's scale our table as well. I will see the reference of the window and I'll try to scale something like this round 400, 450 millimeters. I think maybe 500. Visually. It's close align, our decoration part. Let's install our decoration on our table. Same process. Let's assign the material. We will actually use this black plastic for these parts. We will our previous gold material, our group. And let's find a point of view like this. I think like this. And let's render and let's see what we obtained. Well, it looks fine. Let's get to our next subject. 34. 34 Homework 11 Divide Connect copy FFD: Let's try to model this table. We will use as well, the divide function. And the connect function, our table. We got a lot of legs. We will try to install all these legs using our divide at equal distance. We will try to use connect to connect them with the upper part. We've got a circle at the lower part. The same circle will be in our upper part. Then we will try to rotate these legs. We can obtain the same effect that we see on our image. First of all, let's create a circle. This will be our bottom part. I'll raise just a bit of our circle, so I can see the line. Let's adjust the distance of our lower part. I'll adjust the radius thing like this, and I'll switch back to zero. Now we can turn actually the interplation on. That's because our object will not go further than the level two. Now we will have to divide all these legs. Actually, I don't know how much legs we got. Let's try to end, for example, between our vertices. I don't know, maybe 12. I think it's too much 11. Let's use connect. It actually doesn't really matter the exact number of legs. If you will model a real table, of course it will matter. In this case, we are doing just an exercise so we can understand the principle. Now let's try to turn our legs. Let's try to apply free form deformation. I think I have to remove the selection. We can apply a free form deformation. And let's try to rotate our segments. We will try to repeat the same shape that we see on our image. Well, something like this. I'll convert to spline. Next, let's try to create the upper part, the wooden part, the table part. I'll select the spline. We will use this thickness so we can this part. By the way, we got different sections for these circles. That's why for the first part we'll actually use one thickness for the second one, for bunch of legs. For this bunch of thin legs, we will use another distance. Let's select these two circles. And let's detach them. We will actually apply the sweep that we got here. We will increase the radius a bit so we can get the effect. The same effect that we have in our image and now the wooden parts. Let's scale it a bit. Let's see how much. I think it's too much a bit should reduce. We are close. Very close. Maybe just a bit. Yes, that's it. And let's extrude, draw Eric Jangle and see the real distance that we need. One more time, depending the scale that we are using. Now, we will try to adjust vigil something like this. Yes, that's closer. Let's apply a chamfer to our table. And we'll actually increase a bit our chamfer And we will have to add some segments. Well, something like this. Let's get to our photo studio. I'll move the pious subjects and let's adjust our table. Our scale on the table, and the reference as well. Let's try to install our table on the floor. Let's try to assign materials to our table. The legs will be our well plastic but it's actually black painted metal and here we will assign our wooden part. We can try to use cylinder, we have to use cap. Actually, I don't really like the way how this texture is applied. It's not texture correctly, we got distortion. We all see this very clear, the render. Let's set our table on the floor. We will align the ration part. It seems like it's not in the center. I think it's because of the angle of those flowers. Anyway, I really like these edges. Let's try to apply. Actually, I don't really like those edges. Let's try actually to apply unwrap. As I said, we will not talk about these advanced instruments here in this force, you can leave the model like this. I will apply the unwrap quickly so we can somehow correct this texture. It will be visible, very visible. Now Render, we'll have to increase the angle so we can see our legs that we modeled, and these edges will be visible. Let's correct them. And let's hit render. Let's see what we obtained. Well, it looks fine. Let's get to our next object. 35. 35 Homework 12 Sweep Custom profile: This lesson, we will try to talk about the custom profile or the custom section of our sweep instrument. Let's choose from this library. I'll attach, by the way, the library, Let's choose a section. This will be our baseboard one for the ceiling, for example. We can pick these. Let's create a copy. Let's move them closer to our photo studio. First of all, we will need the section. I'll delete the polygon part. I'll leave only our section. This will be our custom section of the baseboard. How this custom section works. First of all, we have to create a path and the section of it's already done. We applied section, this was our first option. In this second case, we will apply the second option. This will be our custom section. As you can see, by default, our path is set in the middle of our section. So we can control these using this rectangle. This will determine how our section will be applied. Usually this edge belongs to the edge of our walls. But in this case, as we are talking about walls and baseboard, this is true for our edges of our walls. I'll create just a portion. Just this section, of course, we will create for our, all the edges. I'll try to show only this example, one example. Let's create one more copy for the upper part. First of all, we will select our path or the edge of our lower part of our wall. And we will select the second option, Use Custom Section. And we will choose Pick. And we will click on our section of our profile. If you intend to create interiors, it's a lot better to use ready sections. In this case, we can also mirror our section and we must find its place according to the edge of our wall. Let's also assign a white material to this baseboard. Now let's create the upper part. First of all, let's bring our upper part in the higher point. Then the same process we will apply sweep with our custom section we got here extrude. And we will delete our extrude. We need only our section. Let's choose our path. Let's choose sweep. And will we will choose our section and we will create the upper part for the ceiling. Now we will have to adjust, first of all, we will have to mirror. We will have to use the upper part of our rectangle, as this is for the upper part of our room, of our space. As you can see, we created the second part. Usually you have to create these two parts for every interior, of course, depending what style you are using and this is the way how we are using our sweep custom section. Let's go further. 36. 36 Homework 13 Spline Boolean Union Substraction Intersection Lathe: Let's try to model this table. It seems like a table. I would like to show you how our bulling instruments work at the levels plan we also got at the object level. First of all about the models. The models are getting complicated and we will have to use more complicated instruments. First of all, that's not the problem of using them, but the problem is that we will have to use level three or level four instruments. And that's not the case or the topic of our course or this course will be endless. Main fact is that you will actually use not all the instruments from this line, although we will pass all the instruments in real practice. Of course, depending what you are doing, you will use actually one half of them. That's why while creating this course step by step, I got to the point where models have to be more complicated. But they interfere, as I said, with level three and level four instruments. That's why I think we will have to stop somewhere at this point as there is already a bunch of information, a lot of information that you'll have to learn and then apply and to practice the future models. More complicated models perhaps, will be the topic of our future course, next course, which will be our third part of our full course. Okay, let's get further with our model. First of all, I would like to explain how our instrument bulling works. Let's create two circles. And we will convert our first circle into a plan. We will attach them. They need to be attached. And of course, they have to be planners, so they can intersect one with another. Then we will find our bulling. We got three functions, we got union, we got substract, and we got intersection. Let's choose, for example, the first one, the union or weld part. In this case, intersecting circles will be welded and they will create one piece in the second part, the intersection will cut the first one from the second one. I mean the object, the first object from the second object. Depending what object we are choosing, we can choose the first circle or the second circle. The third option, the intersection option, will create a shape that will be created at the intersection of those two shapes, whatever the shapes are. In this case, let's try to create this shape and we will use this function. It will be a lot more clear when you'll see this in a real example. Let's find our zero level, as you can see our table. Let's call it a table. It seems like a table. This table seems like a circle, but it also got some elements. Let's try to create these elements using a star. I'll align the star. The visually we will not count of course, but we will visually try to adjust the stars so we can obtain those elements there. We will adjust the radius so we can obtain these angles closer to what we are seeing on our image. And also we will increase the number of our angles. Let's try to adjust them according to our image. We don't know exactly the number, but we can appreciate it very close. Something like this, I think. Let's adjust a bit, the radius. Now let's use our function, our bulling function. First of all, let's attach our star. Now let's use our function. We will have to extract the part, the inner part, so we can obtain this circle with these edges. We've got some small problems here. We will try to delete these problems, the vertices from our circle, from our main circle. It will not affect our main shape. Now we got some shape very close to a sun or something like this. First of all, we can select, we have a small distance between the points, but we'll have to actually get into the center. So we can select the inner part. The inner points part. Like this. We forgot about this part. I am trying to find the center of our shape. We can put it in the center so it will be a lot more easier. But I will not do. I'll create it here. Now we will invert our selection and we will have to our edges on our image here. Let's chamfer now let's apply extrude and we will give our shape. Our table, the lower table part. First of all, let's find our height of our table jumps a bit. Let's find it something like this. Now we will have to create this curve for the leg of our table. First of all, when we are creating curves, we need segments. That's why segments to our extrude. And then we will apply our reform deformation. And let's pick our upper part. Let's try to scale. In this case we will obtain something like we will try to adjust according to our reference. Well, at least we'll have to be very close. We can actually adjust the middle part, but maybe we will leave it like that. Yes, we can leave it like that. Now, the second part. Now here interferes another instrument we call lathe. I'll show in a second how it works. Let's see how our lathe work. First of all, let's say for example, we will create a section and we will apply lathe. We can interfere here, we can grab the axis, we have access to our axis of the. Lathe. And what it actually does, it takes the shape that we created and rotated according to these axis that we can also control. We can weld the core if we need also. We can flip our normals, depending how we are obtaining our shape. In this case, we will have to weld. So we can obtain a shape that is closed. You can also rotate on different axes. But in this case we will have, but in this case we will have to rotate with the first option, let's try to find the center of our upper part of our table part. Next, let's align our points. By the way, this is a lot easier to do using the zero line, but as I said, I will not move all the objects. Now, let's do it here. Actually, it's not a big difference. And these two points also, they have to be aligned. But as we will use fill it on them, it's actually very critical. If they are very close, let's use a curve so we can create this round part at the lower part of the upper element of our table. We will obtain the profile of our table, of our upper part. We will apply Led. The half part, if we can say so, of our table, must be rotated according to the central axis. The central axis of our table. First of all, let's enable the weld core. And we will have to weld the Tin like that. You will see it visually when it is welded some segments. So we can obtain this round. And by the way, you can obtain different shapes. But in this case, of course we need a round shape. Let's align our table. Let's use man to maximum Z. And let's get to our photo studio and let's see what we obtained. We can also use as always some detail, some decoration. Let's move our previous object, our previous tab on. Let's kill our table. I think like this, for example. Let's kill the reference as well. Let's align our books or our decoration. I think I will turn them so we can see the part from another angle. I know the table is not so glossy, but I will not focus, as I said, on materials. Let's use our previous black material. It will be enough. Let's adjust a bit. Object and our reference. I would like to see them both in one render. Let's scale a bit and I think it's okay. We are close, It jumps, Okay, we are close. Let's hit Render. And let's see what we obtained. We can see the reflections. It's a glossy table, but anyway, it looks okay. I think we did, okay. We are very close to the original one except for the reflections. Okay, we will get to our last lamp that we have on our main cover. This will be, I think, the last object we will create in this course. Okay, let's get further. 37. 37 Homework 14 Lathe: Okay, let's get to our last exercise. We will try to model this lamp. By the way, you'll have to model all these models by yourself, like additional homeworks. And I think we will finish with this model in this course. Of course, we will have to model a lot of exercises. If we will continue, I think this is the part of another course, but for now I think we have enough information so we can say that we pass the beginner level and we understand the core of how we can use the splines in BDSMx. Okay, let's load our image the same previous steps. We got a few shapes. First of all, we have a metal or a part inside our glass and I think we can use tomorrow part. Let's put our object on our zero line. There is a bit of perspective there. It seems like a one point perspective. We will adjust it a bit later. S, I think we can start with a circle. A lot of reflections there. Let's try to find the center and the radius of our circle. Something close. We also have this part. Let's try to mow it using this line. It's a lot easier to use the zero axis, but as I said, I will not move. Now all my objects, we will assign the coordinates in the panel below. Let's choose. Well, let's actually turn that into a busy and let's see how it will interact. We will need to create that curve, actually I'll use a fine, doesn't look well. Yes, maybe this is better. And I'll try to fill it, these parts as well. Now, our zero points as we said. Let's find the xs. I'll copy the coordinates. Like this. So we can have the same axis. The points must be on the same coordinates will be a lot easier. When we will use lay delay, we will need only Health I will delete half of our circle and here we can use our instrument cross insert and we can erase those segments. We could have used three as well. One more thing, we will have to weld our parts. Now I will have to copy three copies. Now let's snap. And the third copy as well. We have a bit of offset here. I think we will have to use reform deformation. First of all, let's attach all these parts and we will adjust them. We'll drag just a bit so we can match our circles. I know we distort the circle in a way, but that's it. We will be very close. Now, these parts are not welded and we also have the upper part. Let's as well. And same thing for the coordinates for our points. We must close our glass part. Our points match the same axis. From there we can see only the Ron part of the metal part. Actually, I will use one more time. Free form deformation, so we can adjust all these shapes together. Well, something like this. Now we will have to use the. Before that, I'll have to weld. So these pieces are welded and form one blind. And we can apply our modifier lathe. We have to move our axis and we'll have to weld the core as well. And also we'll have to add segments we are close. Let's enable our weld core slip the normals so we can have the polygons. Turned off it outside. And I will add segments something like this. I think now the metal part of the chrome part, actually there is a space for the metal part, but for now we will not model it. Our glass will show our metal using the transparency. Actually we can use La for the lower part of our. We can use four segments. In this case, we will obtain the lower part. I'll create the profile. Let's apply same process. Let's weld four. And I'll drag our axis so we can obtain, we've got to weld Now I will switch to four segments and we will obtain our square glass part, lower part. And we can actually apply a chamfer here. Now there is a space there. This is the distort, the perspective distortions of our race, this distance until we reach our main glass part. In this way, we will actually avoid that distortion, that perspective distortion. Now we will need to model that chrome part. We can actually move on the same axis our glass part. And let's try to model that part. As I said, we have a space there, but we will actually not model it. We can model it, but it's just taking too much time. It's the same principle. It's not so important for our ender. I think the main idea, how we can use our instruments here, it's the same process. Let's try to create the profile, the lone profile, and actually I will use a bit of a fill there. Again, let's drag our axis, Let's set segments, and let's round our element on the image. Now this part, I think I'll not bother as well, as we already accomplish this task. I'll just borrow this part from this lamp. In this case, we are trying to understand the principle. I know those details as well are not present for the lamp still. We will add them so we can obtain additional details. And in this way our lamp will look a bit better. We are, we cannot scale on free axis using the projections, so we will have to adjust just visually. Now, let's bring our first elements back on their axis, on the zero part. Now this part will be, as I said, inside the glass and we will see actually that metal part. That part. Okay, let's get to our photo studio. This is our lamp. I've pre created a material from the same material that we have with translucency. I just changed the bit, the colors so that the material match the same color that we see on our image. We will not bother, as I said, and we will not focus on materials. This is a very big topic. We will just borrow and be very close. We can actually use the table. Our lamp in this case is placed on some kind of table or object. It's not natural lamp laying on the floor. And also, I would like to borrow our light so we can install it in the center. Let's move that decoration and we will install our lamp there. Let's select the light as well, our group and we will align the centers and then minimum to maximum xs. Let's see what we will obtain. We have a quite complicated material on our lamp. On the reference lamp. As I said, I will not bother to just too much our material. First of all, we've got translucency and our lamp, we have double sided materials there. I will actually bring the intensity of our light a bit down. Our color matches the same color from the image. It distorts the initial color. We must change the initial material, but as I said, we will not focus now on the materials. Let's find a point of view. I would like to bring our lamp a bit in front, but I would like to see the references as well. Let's hit Render and let's see what we obtain. Actually, I don't like glass. It's too reflective. I think the material as well, it's too crude, it's not reflecting. I will change a bit the settings and also I will add some bump. Maybe this is a lot better. Yes, I think this is a lot better. It's not quite the same material, but it's, as I said, we will not focus on materials. This is our lamp we are at. Done. Actually, I would like to say that we will have a small review of the instruments that we didn't pass. Well, this is our lamp. I think here we will stop for this course. This will be the last exercise. I hope we will create some more exercises, but this will be the part of another course. 38. 38 Conclusion: Finally, we got to the end of this course. And we said that we will talk about all the instruments that we have at thepliance level. We said that we will use a more practical rather than technical way of learning thepliance tools and in the process of applying and practice of those instruments, as this is the main thing that we will obtain using these tools. Of course, we learn the tools so we can further apply them into our tasks. Although we didn't pass to more complicated three D objects, you could have watched that we did use only half of those instruments, that's why there are a few instruments that remained. I'll only mention them. Now you can understand the full list of those instruments. But if we would follow the same method that we use in this course to learn the supplying tools, we can say that we would need a homework for every single instrument. As only in practice, the instruments are truly revealed. Now, the second moment is that the objects that we are creating step by step, more complicated. That's why we are constrained to interfere with level three instruments. And that's another big topic I've tried to show in this course an overall general approach, how to use plians from the start. But as our tasks are getting more complicated, it's very hard actually to find homeworks that actually grow in that complexity. But do not trigger the level three or even level four instruments. That's why I think for this course we can stop here as there is enough information for the beginners to start to work with this plians. It will actually be more logical to pass before to level three instruments, so we can understand the level two and level three bind only after that to continue to grow our complexity of suppliants. And of course, we should link all those instruments to real examples, new homeworks. That's why for the end of this course I would like to create a short general review of all the instruments of the plans instruments. I would like to point out a few more instruments that we didn't talk about. You can actually model and without them, but it's okay to know them as well. And we will try to create a logical finish of our course of our suppliants. Okay, let's get to Max. These were the previous, the second part of our instruments that we talked about. I'll create a copy of this line, it's like a finish point for the second part. Let's talk about the general points of this plans. We talked about the rendering, we talked about the interpolation. Let's talk a bit about the soft selection. It is used for more complicated objects. I'll show the principle so you can understand how it works. Of course, it's a lot better to show that in real examples. Let's create, for example, a circle. And I'll divide the circle into many points. We must have many points so we can understand the principle, how it works. If I'll drag one point, you can see that the point moves by itself. But if I intend to create a soft transition, by the way the colors mean the heat, where the red is the most of the power of that soft selection it's applied. We can control that soft selection by the pinch the bubble and the fall off that you can see there. This is a to show in real examples of course. But the principles of using that soft selection I think will be clear. But these are the general principles of that soft selection instrument. We talked about the create line, we talked about brake, we talked about the attach. Let's talk a bit about the cross section. This is a more advanced instrument. It is used to create more complicated objects. In a second, I'll show you how it works. Let's create two lines. I'll attach them. If I do use cross section, the instrument creates some surface. Actually, we do have a surface modifier that will be further applied. It is used, as I said, for more complicated objects, and it interferes with level four instruments. Next we have refine, we can add points. We also talked about connect copying. We talked about weld and brake. We didn't talk about connect. It's another form of connecting suppliants. We can connect the end points of the open spans or open segments. We can also use insert to add points in a more simple way. If we need, usually we will not use this instrument too often. As if we are creating interior design, we will have to stick to fixed plans. Now the reverse and make. First, let's create another line. I'll enable the show vertex number so you can see the effect. We can reverse the direction of this line. Again, this is linked to more complicated objects where this function, it's actually affecting the object. Now make first can change the first point. This is very important for sections when we use, for example, loft, it's like a multi section sweep again. This is for more complicated objects. We talked also about all these instruments. We talked about building, we talked about mirror, we talked about trim. By the way, we didn't talk about extend, extend. It's an instrument that you will use. It extends the line until the intersection with another line, and trim actually cuts that line. We have a bunch of a few instruments there. We have a tangent, but again, this is again linked to more complicated objects. Let's see how actually this tangent work. We can actually copy the handles, the busy handles. We actually have a few more instruments there that we can use, but as I said, they are of secondary use and all these instruments are better to see in real examples. Okay, I would like to thank you all for this course, for attending this course. I hope it helps you to understand this plans, to understand the principles, how we use lienDSm. Also, I do hope I will see you all at the level three course. That will be the next course after this. Thank you and goodbye.