Texturing a Complete Scene in Substance 3D Painter

1. Introduction: As an artist, you need to know how to make textures for your seats. Hi, my name is Simon Joseph. Surely. This is next dot educations texturing a complete scene inside substantively painters. In this course, you will learn how to texture scene itself, sensitivity painter. You'll learn how to start the project, baking the mesh maps, and making your texture passes from scratch. This course, I'm going to show you how to make textures just by using Substance Painter provided assets. After making texture for your assets, you will learn how to export your textures for your favorite render engine and also render the scene with ionic substance painter default render engine. This course is not a starter course and you need to have basic knowledge about stops and steady painter. This course is not covering the modelling part, the course till the model is included. Of course, you should have substance painter version 7.4 and above. Join me and learn how to texture the complete scene. It's substituted painter. 2. Download Project Files: Hey guys, and welcome to the Chapter one. In this video, I wanted to tell you a little bit about the files and project files to be specific, I prepared a starter APP little bit under heavy side, as you can see in three and Almost half gigabytes. And also a kitchen dot F p, x and maps. Alright? And you can find them in project file and start working through this course. So don't forget to check out this flies and download them and start texturing. Alright. See you in next video. 3. Project Setup: In order to start working with substance to the painter, you need to load your scene first. So simply go to File New. And for this matter, I'm going to use ASM baby are metallic roughness with subsurface scattering started asset template. So select your model. I'm going to set the default resolution to 2048 and OpenGL on run their normal map format. So I'm using a UV tiled workflow or UDID. So debt or check debt and also import sitting in Port cameras. So simply click Okay, and weight foreseen to be assembled. Alright, now we have our 2D model. Importantly signed substance to the painter. Also we have our camera. So as I said, I'm working with D. You didn't tides. So that means multiple UDM tiles and one models. So as you can see, I have some of the planks for floor in one time, some of them in tight two, and so on. Alright. But I assign the material, different materials for different parts of the models. As you can see, wall and floor are in tight, one to tile. 15. Organics here. Tie 5255. And also dining table. And 57 to visit, 61 and so on. Alright. You need to arrange your UVs like so and assign materials, different material with different names to the different part of your models and this way, so sprinter can arrange them like alright, now, let me switch back to 3D view. The only thing you need to set before starting work, start working with the scene is to set your light here inside. Display setting, environment map, and just set your desire light. Hold Shift, right-click and rotate your light. And also you have the ability to enable the shadow if you desired. And you have a little bit of sitting over the opacity as well. So that's it for project setup. The next video we're going to bake some mesh maps for our sin. So see you in next part. 4. Baking Meshmaps: Welcome back. Let's pick some HashMaps. Alright, let me go to texture sets. Where is it the display setting and disabled the shadow and texture sets sitting here at the baton. Mesh maps, bake some mesh maps. We don't have high polymerase, so we only baking low poly to locally to have some basic maps such as normal, what is normal? Id ambient occlusion, curvature and position, and also some thickness. So here in canon setting, we have output size. Let's set that to 2048. Alright, now, we'll need to change anything here. Let's use the low poly mesh as high polymerase. Check that. So you don't need to load your low poly mesh hypotenuse, sorry. And also down here, I'm not going to change anything. But if you want, you can change your max frontal distance light to something more farther away or radial distance closer. Or it now in here, relative to Bounding Box be checked, our original checked, ignore back face checked, and also add some anti aliasing. I'm going to set that to two-by-two. And yet That's it. Let's go to normal. We don't have any setting here. What is space? No setting. Id. Let's set the ID colors source to mesh ID or poly group and color generator to Hue Shift. Don't forget to apply to all. Alright. I'm inclusion that it be this way. Alright? Curvature, position, and thickness. We don't need to change anything else. Just eight baked selected textures and it's going to be big. All of the textures. Alright, let's substance big texts, chairs. And I'm going to back to you in next chapter for some texturing. Alright, see you in next chapter. Alright, see you in next chapter. 5. Making Height for Western Wall: Hey guys, and welcome to the second chapter of this course. In this chapter we're going to start with the vol and a floor textures. We're going to make some textures for the wall, a floor. And let me isolate the road material and also the window, curtain and little glass here, and also a little bit of tiles. And these two outlets. So let's get started with D masking first. Then go to Layers and create a folder called that. And let me hear you. Let's call that the left vol. Alright, give it a color, Right-click and add color to this folder. Make another folder. And maybe let's call this invest and name this one, not so add a blue color to that. And also another folder named at floor and add a different colored that we need. One more, maybe two. We have a curtain and the window. So let's go and name that C. And another color. This one window. And we are out of color now. Yeah, Good. Let me hide all of this and create some mask for the involved. So as you can see inside the texture sets and lists, if I open that UV tiles, you can see we have tides one to 15. If I switch to UV mode or F3 has can see if you have type one all the way to 15. And if I zoom, can see deep pockets in five tiles. Also times six is the dummy. We go back to the view. It's the dummy floor here, this box. And it's going to block the lights, shine through D between the pockets. So let's go back to three. And also in seven we have the window wall and the bag. I made that a little bit smaller. That's not important. Here. Back off the wall, can see that. So and also, I guess four tiles for the actual title is and the outlets. Andy, north of all Curtin and a window glass. These two are glass. School. Back to the view. And select the vault. Go and select this little icon is going to give you an ability to mask based on tides. As I move my mouse over did sizes can see, you can select them all or part of the mesh. So let's go and exclude all. Now in 3D view I can go over the wall. And if I drag and drop a material, this material to the west wall, it's going to affect only the west wall. And that's what we need. So. Let me delete that. Alright, let's select the note also. So let's go to the restaurant, answered it the tiles. Maybe part of them, or let's create another folder. And this way we can effect on the tiles separately. So let's name this tides. And a, alright. Alright, disabled this, select the note will go to tied a filter or let me see the actual name. There's no mask by UV. Yep. That's the name. Also you can switch between a mesh names here. Or you would touch if you have proper naming convention added to your model. So let's exclude on and on this tile selected floor. Exclude. And let me go to top view and also go to orthographic view. I guess that's a five and F6 yep. X skeleton. And drag and drop. This selection. Go to Curtin. Exclude all and select only the curtains. And yeah, window ix colored and selective in detail and its height. So let me see here, x collude and include all of the tiles. Now we have four layers sitting there, ready to go. Alright. Let me hit F5 or select the perspective view from top. And focus only on this one. Function. Here, we are. Just be able to mask based on material or isolate based on materials. So if I hide this, it's going to hide all of the ties that corresponding to this one for material. So we can't isolate on the walls. So let's work that like so. Let me add a folder inside this folder and call that height reorg going to start with height. And just like the Substance Designer and hide inside Substance Painter, it's going to translate to the normal. And when you're exporting your textures here, Control Shift E. Alright, let me add a fill layer. I'm going to rename this fill layers after finishing the height. So we are now it's called a fill layer one. So let me drag this property, I guess here. Yeah. Much better. Inside the property of the fill layer or simple material, base material, you have your color, height, roughness, metal, and normal and this case scattering because we are in or is it a shader? We are in ASM metallic roughness, but with scattering channel enabled, you can disable the scattering channel or add another channel by hitting this plus button here. Also, the unsupported materials or channels. It's going to work when you are rendering the scene, but you are not be able to see the opacity, for example, in side view ports. So keep that in mind. Alright, back to business. Let's go and insight assets, start our assets. Let's go to text chairs or Flexors. Let me find a suitable height for the wall. Maybe this one is good, but combining that with D, Maybe this one. So let's go and disable all of the channels except height. And add a black mask to the height. Here. Select the height. It's going to be selected by default when you creating the mask. So just add a fill layer to the mask. And inside the fill layer we can believe it, our grayscale values inside textures. So let's drag and drop the grunge inside D grayscale value inputs. Let's go back to our material and add a little bit of positive height. If I drag that up, say by default folders disabled so can't see anything. Add a bit of height. And this is looking good. Alright, now, let's add another fill layer to the mask. So go to this magic wand and add a fill layer. Change the before changing. Let me add a grayscale value. Here. This is the one. Look like a plaster vault, but we need to rotate them. So let's go to the property of the grayscale value. And here we have rotation. Rotate that 90 degree. Alright. Now let's go to our mask and this crunch, the second grunge. And for some reason, my dropdown, It's opening on the other monitor, so I'm going to change the blending mode to multiply. All right? I'm not seeing the effect really clearly, so let me switch between the blending mode. I'm just selecting and de-selecting and just with arrow keys, switching between the blending modes. Let me go back to normal and just reduce the opacity of this second grant E. That's going to work. Let's go back to first grunge and a scale that may be two times. Alright? Hold, Shift and right click and drag your light to see the effect more clearly. Alright, good. So let's add a little bit of imperfection to the wall. And let me call this maybe base height and Control D to duplicate the whole thing. And let me delete the second grunge and call that A&P friction. And let me disable the first layer. Go to crunch map. And let me find a really distort the grunge. Something like maybe maybe this one, It's not bad. So drag and drop it to the grayscale value. Alright, that's good. So let's go back to material this time. Add a little bit of a negative height. Alright, enable the button height. And maybe this material at a little bit of it, more negative height. Alright. Go to grungy map and maybe a bit more contrast. But if you wanted to see only the mask and just hold Alt, click on the mask. And here we have our mascot visible. Got the grunge, add more contrast. So, alright, That's looking good. Now. Maybe add a little bit more positive to the bottom layer. Alright. And I don't want this effect is second height to be effect the, around the window or maybe some other places. So to do that, let's select the mask and add a paint layer. And in the paint that property all the way down, you have the ability to switch between white and black color or simply hit X to invert that. Alright, now we are going to subtract this paint out of the grant. So let's change the blending mode to subtract one more time. It's opening on the other screen and change this to Subtract and it's white. So start painting. And as you can see, I'm going to have the ability to erase some of the effects. And if I switch to more grayish color, you have a really sad or effect. Maybe in this area, we wanted less effect, right? And if you somehow change your mind, just switch to black and bring back down. Alright. Yeah, that's looking good. In the next part, we're going to add color and use anchor point to drive our column. And after dad or a roughness. So inbreeding make everything to see all together and looking good. So let me paint out some of these areas. And maybe this area and have nearly enough dense. Alright, looking good. You don't have to work with this folder. We're done with the height and the next part we're going to add colors. So see you in next part. 6. Wall Color and Roughness: Welcome back. In this part, we're going to add some colors, so isolate the walls again. And above the height. Maybe create a folder called color. Alright, now, let's go back and see our grants or mask by holding Alt and click on the mask. That's good. Let me go and right-click on the layer at a anchor point. Here, you can change the name of the anchor point. And maybe second. And also at anchor point to the bottom. Based height mass. That's good. Alright, now let's go to color and add a new base material or fill layer. This time, we only need to have our color. So Let's add a layer of the, um, maybe some kind of greenish, bluish. Maybe around here. We can change this. So don't worry. Go to Query niche little bit more, something like this. Alright, now, let's use our anchor points. First of all, let's call that base color the color. Alright, now, let's duplicate that. I'm duplicating this because I already disabled the channels. You can disabled Chinese by holding Alt. So keep that in mind. Alright, now let's add a black mask to the second color. Add a fill layer two, or is it D a layer mask? And inside the fill layer and gray scale, Let's click on the gray scale. And now you can see we have resources and also anchor points. These two anchor points. Alright, let's go and select the base mask anchor point. Let's go back to our material and change the color. And as you can see, we are changing the colors are driving the colors based on the oh, this one is pending. Just frozen. Oh, no. I was painted. Just start saving faith. I need to disable the auto save weight, weight. And it's done. Alright, now, let me save this file first. C, S, save that under name of d for our lives. So and if I remember correctly, the autosave is the JavaScript plugin. So let's disable debt. All right, now, we are at, now added a anchor point to the base colors, second base color, and deriving the color of this base material based on this mask. So if I change the mask and let me show you, if I change this mass, I'm going to change D color as well. So it's cool. Let's go to Select second base color. I guess that color is not too bad. It's a darkish green color. Maybe needed bit on the green side. You have the ability to change the blending mode. It's came back. So let me switch the blending mode to multiply. And yeah, the normal, It's good enough so. Let's go to and D Control D and a copy D. Second color, go to mask a fill layer, go to grayscale value and change that to a second. As you can see, now, we are driving our color based on the second imperfection mask. So let's go and add lighter color. Maybe around. Kinship. Captured this and make it a little bit lighter or darker. Or simply multiply that. Alright, let's better and reduce the opacity a little bit. Alright? Yeah, that's good. Alright, now, in this 2 second, this one is first, this one is second. And let's add another fill layer. Maybe call that dirt. And Alt, click on the color to keep just color. So maybe at a black mask, add a fill layer to the black mask and go to Assets starters. Let me find a maybe something like maybe maybe maybe this one is not that bad. What about this one? All right, This is good. There. I can drop it in the grayscale value input and change the color to see the effect. Maybe a yellowish color. Alright. Also, we added a mask into the field layers so we can drive the height based on this mask at the same time as the color. So let's enable the height and height, maybe positive height. Alright? And reduce the opacity of the color. Something like this. Right now, Tibet. Alright, now let's create another folder called roughness. And let me hit control C and control V to copy all of the colors here inside D roughness folder, because we are going to use the same anchor points. Alright, now, let's change the name to base off base roughness. Disabled the color, enabled the roughness and a switch to roughness view or roughness channel. You can drop them, use this drop-down to select the roughness or simply hit C to cycle through all of the channels. Alright. We need to add a base or roughness around maybe 0.6, I guess that's a good start for the roughness. Alright, nick, the second one, disabled the color enable the roughness and as you can see, we are deriving the rough this based on the base height. So little bit less roughness to have more glossiness around. Here, the baseline mask. Select the second, disabled the color and enable roughness. And let's add more rough and their seat, but the color and the height enable the roughness. And less. Alright, hit M to switch back to material mode. And it's can see you have your roughness enabled for you. So hold, Shift and right-click and rotate the environment to see the effect more clearly. So that's a good start. But let's go back to base color and that happy with this greenish. So let me go more blue. D is good here in first color. Let's go more blue as well. Here. And yeah. Right, It's good. Let me go back to first dare to gray scale. And maybe offset that. Oh, not the first ten that out, the second one. Alright. That's not enter. So let's go to imperfection. Yeah, this is it. Right? Maybe change the lens and a little bit of contrast. And maybe go to your paint, switch back to black or simply hit X and bring back some of the Hertz. So maybe paint out swan and grade is fun. Alright, now we have our wall. It created. Show. All right, that's good. I'm happy with this one, not the color. Color might be changed, so the normals and hide and all of the details, it's good enough. And don't forget you have the power to change the effects or input grayscale values whenever you want. So let me drag this one. It's going to be changed. So what about this one? It's good. Yep. And let me switch to another one. It's not good. Maybe here. That's good as well. In the cleanup video, we might change some of these inputs. So this is more like it's going to keep that maybe three times. No change to learn C, This is good. Good. Let me switch to height. Pass. As you can see him, you have some heights, but the height is not debt, right? We can see the empty space says, and that's because we don't have the base height. So this is a good time to add a base layer. Create a layer on here. Let me delete that. On top, not folder. A PHY layer. Drag it out of this folder. Drag that all the way down and call that base height and scattering. And disable all but height and scattering. No height between 0 and no scattering. We're going to do this trick on all of the materials as well. So now we have proper heights. Really dark values that indicates the invert heights and some grayish. And also maybe if I find one, some kind of a white ish, green ish, and that's going to be outwards. So we have our heights. Let's switch to a roughness by hitting C key. And we don't have any metallics, so let's enable our metallic to be black. And normal cell. Here. Let me go and up on the top of the layer stack, let's go to Assets, filters, and height to normal. Let's select the height to normal drag and drop that on top of the layer stack. Now we are translating the heights, the normal inside the substance painter to be able to see the actual normals. Let me add a surface size and less depth. Something like this. Alright, now we have a normal It's si, no scattering and normal height mesh. If I disabled this high to normal. This is a translated version of the high to normal that we getting out of a substance painter. So let me see. Enabled debt. Go back to material lot. Alright, in this, it looks a little bit harsh. So let's disable the heights are normal for now, or maybe make it a little bit less. Maybe 0.8. Alright, That's good. Now, if you remember, we have some baked mesh mesh map. Actually, this shadow that you're seeing here is the ambient occlusion baked based on the other objects in the scene. It can drive a desert based on debt. So go all the way up, create a folder called Dirt, add a fill layer. That folder. Maybe call this a o or ambient occlusion. And let me add a black mask to that. Disabled the, all the channels by holding Alt except the color. So let's go back to a, add a fill layer or not, the fill layer. This time let's add a generator. And inside territory selection, Let's select the ambient occlusion. Alright. Now let me add a really noticeable color. And you can see we are in inverted mode. So let's go to Mask and I'm integrating generator, hit global invert. And we have some shadows. Maybe change the balance below the ambient occlusion a little bit and change the balance. And you have also have gone thrust here enabled for us. So let's go and add a gray value to the color. Change the color of the layer to opening on the other screen. So change to multiply. Not the layer that's going to overwrite by actual folder, folder to multiply. Now let's bring back everything. Is going to see we have some shadows created for us. Let's enable the roughness value as well and make it a tree layer off. Alright, good. Close the dirt and finish. In the next part we're going to make the material for the other wall and also the tides. So see you in next part. 7. Making Material for Window: Welcome back. Sit the next vol or not while, but let's create material for the window instead. So let me isolate the vol again and go to Window folder. And let me drag the window here. Changed it to do. Alright. Now, Let's go and select a vendor only. We are selecting the windows, so let's go inside the window and create a fall there inside. And let's call that route and add a black mask. Go to polygon feature selection. In here, select D, a mesh field, and select the votes. Let me hold Alt and click on the mask to see more clearly. And select all the votes. Alright, create another folder and call that less. Again. Black mask and polygon mesh. We'll select the glass. You are selecting the glass. And here another folder called that metal. We have some metal here. So at a black mask again and select here the metallic parts. Alright, now another folder called FAB brewery. Yeah, let's delete the curtain. I guess. I think we need the Kurds in a different folder or nuts. I guess not. Let's delete the curtain, go back to Window and select the filter by or masked by UV. And select the curtain as well. Alright, fabric and a black mask and select the curtains this time. So maybe disable all of this. Go to vote. And this time maybe no, maybe you select the smart materials. Oh, let me see what we have inside the base materials. C. Guess. This base materials are not that bad. So let me drag and drop one of the base materials inside the vote. All right, not bad. Just need to be rotated 90 degree. Alright. Let me work with the window other side so we can see that more clearly. Yeah, that's sitting there. Really nice. I don't need to change anything, I guess. Let me see what we have here. Rings, setup, Substance, Designer material is the materials. So we have some options such as base color. Here. We don't need to use that for now. Or maybe roughness. And what's the ring? Alright, the actual ring inside D would, or with patterns. So maybe keep it in five based on the size of a window. So let me see what we have here. As always, we have a randomness. So you can change the randomness by a random seed. But so, yeah, that's good. Let's add a fill layer on top of the we would evolve nuts and name that color. All right, now, let me disable all and keep just color and maybe roughness. And this time, let's add a smart mask. Maybe edge dusty, drag and drop it on top of the layer. It's going to make a black mask and also a generator. Inside territory, you have ability to change the masking area based on textures and being the collision curvature and some other things such as position and thickness. So first of all, let's add a global invert and change the color balance. So no texture for now. And texts chairs are corresponding to input text chairs. Here, secondary texture and first texture. You can change that by going to textures and drag and drop one of the grunge maps that shipping with the Substance Painter. Hey, maybe here. Let's go back up and increase the texture. Inside the texture. You can tile textures. Change the contrast, and some brightness. Also, try planner or nuts. Alright, now, let's go and change the curvature. Mask generator is working with the curvature value. This is too much. Let me disable or a delete the smart mask. Let's go back and change to another, maybe something like collusion. Let's type or CC. We have two type of the occlusion mask. One of them is occlusion strong and dusty or collision? Let's use a polygynous trunk, drag and drop it on top. It's inverted. So let's select the generator. Global inverts. Alright? We'll go inside and change the balance. Alright, not happy with the result. Delete that, use another occlusion. Not happy either. So in this case, let's go and add the generator. We're not inside generator. Let's use where is it the curvature generator? Alright. Change the generator, invert that and something like this. And on top of the curvature generator, let's add a fill layer. Go to textures and maybe be in two parts, or maybe cloud, maybe cloud one, drag and drop it on top of the gray scale value. Input for the second fill layer. Change the blending mode to maybe subtract or mean. Find the mean. Mean is the darken here. Alright. Let me change that to BMW. Not good. To ply with the Cloud to. Let's go back to curvature. Maybe subtract d. Allowed. Alright, that's not good either. Let me go back to our masks. Maybe using paint, old e, maybe inverter. Yeah, That's good. Also, as you remember, we are enabling keep the height and roughness as well. So if I go to height value, add more positive height or negative hides. We have some normal or height value going on up here. There we go to generate or less contrasty. Maybe add a filter on top and simple bluer, It's not a bad idea. Reduce the blur to something like this. Alright, go to a material and let me change the color. This is the paint color for the window, so I'm not sure what color looking for. You're going to change debts in future. So fun now, let me keep it maybe around bluish green as well. Less height and maybe less contrasty. And limitless ticks charity. Also, you can go to curvature setting of the mask maker or mosque builder and change the curvature behavior. You have something like this. Alright, that's good. So yes, good. So let's add a little bit of fine details on top of the paint. Here. Let's go and add another layer. And go to textures. This time BMW, and reduce the opacity. Just like that. Yeah, that's good. Alright, now, let's skip the class for now. Or maybe let's make it. We can't see the grass, as I said before. Cars, the texture set opacity is not supported with the ASM metallic roughness. So we can not see that in view-port. Let me add a opacity channel here on supported by shaped their capacity and go back to layers, add another fill layer. Now we have opacity as well. So just disable the height and normal and maybe not. Let's keep the color and add little bit of mental illness, less opacity and maybe some bluish color. So again, we can't see the effect, but the effect is there. If I render the scene, you can see that as a vet. So let me add name of the base glass or maybe less. It's good enough. Let's add another fill layer on top called that a o dirt. If the color and roughness and switch the blending mode of the color to multiply. Maybe make it a little bit darker and add a black mask. Go to smart masks and maybe at a collusion. Strong, invert the whole team globally inverse on nuts. Let me go to dusty OCC and change the level. Here we can see more clearly from back here. And let's crunch. Crunch amount less. Alright? Go to roughness value and go to a authored Material. Add more roughness. Alright, now, it's good. Let's go back to material mode. And maybe less FX. And the overall dirt here. Right? It's good. It's good. The metallic part, it's not that hard. We can use smart materials and smart materials are simply based materials and the depths stack on top of each other. If I drag, let me hover over the steel, scratch or stand. So drag and drop this one to the metal. As you can see, we have some really nice metallic effects going on. We need to move the curtain little bit up in the Maya. So this is good. Let's go over the steel stained smart material. Start with the steel base. And that's basically at just a metallic material. If I disable this sharp pen and just have some roughness, metallic, normal, and color value, nothing special. We have control over the luminosity of the material. Basically darken D and more like add more light to the material. We have some t-shirts that driving by mask generator, mass generator. And you can change the dirt based on their two level. Something like this. Alright, now we have a sharp n going on. Also, you can add another filter on top. You have some material metal finished. So as you can see inside D filters, we have some metal finished, maybe this one, drag and drop it on top of the stack. And let me see more closely. It's not affecting that much. So let me delete it and switch to another one, something like that to finish roughness. Let me drag and drop it out of date before there. And yeah. Affected. That's not visible. So let's not do that. It's good enough by itself. Alright, let's go to the fabric area. But in the next part, so the next part we're going to make the fabrics and possibly the other ones. So see you in next part. 8. Fabric Material for Curtain: Welcome back. Let's go and add some material to the curtains, some fabric materials. But first, let's hit Render up here and go to Ira rendering to see these effects. As I said before, we can see the opposite ear inside the viewport by using the main shader is metallic roughness. But in the render view and export the textures. We can have the glass enabled for us. Let's go back and isolate. Let's go to fabric. Check the mask ie. It's right. We need to have some flow over TNG pattern going on. So let's go and insight deep texts chairs. Let me see what we have here because I wanted to use only the year provided textures or oranges inside the substance painter. So this one is good for patterned fabric pattern the actual fabric button, not the shapes. So let's add a layer and add a black mask. And if they are an anti-pattern that affiliate to have more control over the overall shapes. So let's drag and drop this pattern to the grayscale value and go closer. Go back to layer. For now. Let's hold Alt and click on Hide to have only the height channel enabled for us. And it's positive heights. Pattern is array, they are really big. So let's go back to grayscale value and add maybe hundreds. And we have our fabric pattern. So let's go back to hide and maybe reduce too high 2.01. Yes. It's nice to have some issues here. Let me go to Viewport a guess and active temporarily anti-aliasing. So this way, as you can see, we have some anti-aliasing sample enabled for us to have more clear shape. Alright, now, let's go back and maybe add a base roughness. Me. Create a folder inside the fabric folder named at heights. And call this one base height. We need to have some colors are right. Now. Let me hold Alt and click on the database height and look really close. You can actually use the black and white areas to have some opacity value going on to shine the light through the fabric and have some fabric filling in this material. But at the end we can use the subsurface scattering for the fabrics. So let's go and maybe use the opacity in the base height. Actually, I changed my mind. Let me drag and drop distinct aldehyde and delete the height. And let's add opacity. Alright. And in the opacity, let me see. And not this way, disabled opacity. Hit Control D and Carl that are passe. T, Alright, now inside the mask, delete the grayscale value and go to the base height inside fabric. Go to base height, right-click and create a anchor point, same as before. We're going to use this base anchor point to drive the need to add this to mask. So not. And the material level inside the mask to drive the other effects based on this pattern, this fabric pattern that we just created. So let's go to opacity, mask, fill layer of the mask and inside grayscale anchor point. And let me change the fabric name. Call that FAB rich. That's her. Alright, now, this way we can find that is any. So let's go to anchor point and fabric pattern, select debt. Right? Now. Let's go to opacity base material, disabled the height, and enable the opacity value. So let's switch to opacity here inside the drop-down channel. And let's go. Alright, now I guess we need to have some level C, D effect. Alright. Guess that's not going to work the way I intended. So let's see. If it's not going to be really opaque or have one value of opacities. So it might fork. Let me drop down to 0 and hit Render. Yeah, that's going to work. As you can see. We can see the window barely behind the curtain. So that's working. It's a good news. But inside the base height and a subsurface, let me change that to base height and opacity. Now, we need to enable the opacity, opacity of one. And as soon as I enabled that, as you can see, we have opacity of Vo1 or opaque all the way around the walls, but not inside the curtains so that working. So let's go back to material level. Now we need to add a pattern. We have our height, base and our opacity. Now, let's add a layer named that color. Let me check if I can enable the color here or not. No, only height, only opacity, and now only color. Sit. Let's go and add a black mask. Or let's change this to pattern. Another one below that and call that color. Alright, let me temporarily disabled this one. And this one only. I'm looking for some kinda right, but not that white. Really. Maybe run deep. Pinkish areas, something like this. Maybe. Let me go up here. Around here, I guess. Alright, this is the base color. And here the pattern color. We added a black mask to the pattern color. Selected Black Mask add a fill layer. And inside the fill layer. Let's go and look for some flow of editing pattern. Maybe here we don't have that much of the option. Maybe this one. Maybe this one because those are substance materials, but black and white, grayscale. But they still have some control, such as scale tiling. And maybe invert the inverted when it's not good. So let me switch to another one. Where is this? Maybe this one. Good. Alright, I don't like it, so let's look for something else. As I said, we don't have that much of the options, so let me see all the way down. Let's use one of them. So maybe this one, maybe overwrite the tile or add a bigger number here. That's not good either. It was an awful Let me see. Yeah, Maybe this tank works. More time. Maybe terribly. And beaker, flowery think. Alright. Alright, now let's go back to pattern and material and insight color. Let me add some color. And here I guess also, we can combine two patterns. So let's add another layer and put the blending mode on Macs. It's opening on the other screen as well. Goo and add. Maybe, I don't know, maybe this pattern to grayscale and the timing of this pattern as well. Now, in this one, let's offset that by 0.5 ie. It's good. And it's more liked. Alright, scope bag and see that. And distance. Now, let's reduce the opacity of the whole patterns are right then. So it's good. Also. Also, let's go and add opacity. Let me switch to opacity, a view of here. If I enable the opacity, as you can see, now, the light no longer can penetrate to the 2D patterns, just Inside D, we can see the window inside the non patterned areas. Maybe make it a little bit like. So, maybe 0.5 or maybe more like 0.7. Alright, That's good. Let's go back to material mode. And now we have our fabric created for us. Also, you can add some randomness to the patterns by duplicating the pattern. For d. Pattern, maybe. Second color. Change the color slightly. Alright, now, go and inside the fabric mask at a paint and grab a brush inside D. Brushes asset, something like this. And switch to brush mode up here. And let's go and add, subtract to the blending mode. Lower the size a bit more. This way you can add different colors to different areas. Or maybe you need to add another layer. Set that a subtract and go to textures. Maybe some textures, like there is a deep here, this texture drag and drop it inside the grayscale value. And as you can see, let me add noticeable material, not some colors to the lover things and change the balance. And as you can see, we have some pinkish down here and up and lead. Now, purple down here and pinkish in middle. So this way you can have two colors and control them by mask. So it's go and add maybe this grayscale value. That's looking pretty. So. Also you have control over the bands. Like so. Maybe less contrasty. Alright, now at the top of the stack, Let's add another layer called a o dirt and set the color, maybe only color. Yeah, first of all, blow that, add another color, add another material called that. D. Roughness. And Alt. Click on the roughness and almost one mean 95.95 to make it rough because fabric or really rough. So now enabled the dirt. Just keep the color alt, click on the color and multiply the ads. Yeah, it's going to darken the whole area. And let's go and add a black mask at a generator and inside territory use ambient occlusion. Let's hold Alt and click on the mask to see the effect more clearly. Go to the collusion generator. Alright, let's go back. Maybe add more darker color. Alright, that's good. Alright, That's our fabric. Let me go back and change this blue color and make it inhibits sudden. Alright, Now we are done with the window. And the next part, we're going to make the material for the other vol and after the D types. So see you then. 9. North Wall and Tiles: Alright, this part, let's go ahead and make some material for the other wall. And that's going to be easy because we already have a material fourth wall. Just hold shift and select all of them. Select the top one, hold Shift, select all of them and Control C. Go to North wall. And Control V. It's going to copy and paste D effect. But as you can see, we have some issues. Maybe see dirt color. And here, let me go and see if I selected the scalar value. Let's go to height first and change the anchor point name. 2d. There's a D and walled base and imperfection. 1 second. And inside D is a defeat layer. Let's go and select the base. Is going to see their face going to show up. Cause let me close this temporarily cost folder. Can overwrite everything. So we have been, we no longer have control over the height and we can't pass this anchor point to the other folders. So we need to reset our anchor points. In here. We go and select D here. And yeah, that's it. That's good. So let's go to the second floor. Base height. And where is it? What's the effect or a That's the micro details effect here in second imperfection. Let me go and maybe randoms time. Maybe change the balance and maybe make it bigger by reducing the scale. Maybe in this one as well. Let me go back to height here. A little bit. Something like this. Alright, let's go back up here. And in this fall that they are maybe make it different somehow by changing the color to some greenish color. And the second color here. Let's go and change to make it more white. Alright. Now, let's leave the rest to the cleanup video. But when all the materials come together and, uh, for now, let's go and flow rate is the floor. Right? Now. Let's go to tides. Let me drag and drop the tiles below the floor. Alright, four tiles to have, I guess three different colors to have more randomness going on. And first of all, let me see. I don't have time for athletes, so let's make that after finishing the tiles. So let's go and add another fill layer. But the tide may recall that base color and work only with the colors. A guess, yeah. Alt and click on Color. And I'm going to add some green, maybe. Darkish, green is something like this. Right now. Maybe see all of them are together, so it's good. Now, let's add, first of all, let me add a folder called folder shin one. Drag and drop the base color inside the version one color. And a, the layer on top. And let's call that a or dirt. All right, now, keep only the color and roughness. Make it really rough. And add a black mask. Maybe go. And insight t. Smart masks, binding, collusion, smart mask. Right? Maybe inside the mask editor. I'm feeling really slowing down. So slowing down and that might be caused by the anti aliasing. Reduce the sample to eight. Alright. And then we change the values. Or let's use a curvature vans something like maybe this edge is strong. Alright? And invert that to act as a collusion it think. So. Now, let's de edge. Just by using the texture. On this texture, add another fill layer, top of the curvature. And add a texture something like cloud, cloud to maybe, alright, now a time that a, maybe two times, maybe more, maybe four times or more, or it maybe ten times. And let me change the blending mode to something like darken mean, Yeah, that's good. And add more. Sitting. Alright, Now we have some straight lines. We need to break. So let me disable the Cloud and select the curvature and a filter on top and choose the blur slope. It's going to break down the straight lines. So let me add a divider of 100 or thousand. And more intensity now enabled liquid out. Alright. Let's Good. Little bit less cloud. Reduce the opacity overall. Or inside the cloud sitting at more common for us to think. Alright, now, let's change the color to something. A little bit more. Light. Here. Alright. I was creating the hay or dirt, but accidentally create a variation to the colors. So let's change the name to color there. And less roughness. Back to base. And the roughness as well. And inside the color where enabled the height. Little bit, positive, height, just a little bit. Maybe even less than that. That's still too much. I don't know. I can't go below that or not. No, that's not possible. It's really, really, really low value, but that, that's possible that gas. So let's cool and select the height. Select the materials, sorry, and add a filter just to the material not inside the mask. And this time in material level, selective filter and sort of D height adjust. Alright, now we have more control over the height. So Let's maybe, you're off, maybe pseudo 0059002, maybe a little bit of a multiply. This is one way to control the height after this value. Or you can control the height over D height channel value. So let's switch to channel to hide and reduce the amount. It's not affecting debt much. Deaths. A really, really low value. So let me disable the height to normal, yeah, and hence caused by high to normal. So let me bring back the height value and go back here. Add more value, that's enough salt. It's enabled the height to normal and reduce the height depth to something like 0.1. Alright, that's good. Now, let me go and add a Delta value. Now. Make another fill layer called the dirt and go back to color base color channel. Change the blending mode to Multiply. Keep only the heights to start to color, and go to maybe the smart masks. And let me find a soft damage. There are again, throughout that one. Maybe the old paint or mass. Mass, It's good to be no textured, grunge. Me change that color to something obvious. Alright, that's good. Make it a bit darker. And reduce the overall opacity to here. Alright, now, It's good. Now let's hit control D on the version folder and name. Changed the name to a version two. Alright, now, add a black mask to diverge into fall their score and select the polygon, tool, mesh, a feel, and randomly select the different types. But first, let's go and change the color to something bluish. Also, this color, something bluish. Now go to mosque and randomly select the hides or just hit X to invert the selection. And the subjects often to have more randomness. They seems really uniform. So hit X again to go to White selection and select More. And now we have different colors. We need to change the color that's not really good. At is something like here. And the second color to maybe here. Alright, now, let's go and directly outside of the folder and delete the dirt from. Second we're first version. So yeah, it's good. And immediately the overall opacity, something like this. Hit control D to version two and change the name to version three to have the t-shirt color variation, right-click on mass and clear mask. Now, let me go and add a maybe for now, red color, red variation. Select it there or not there to D version to the mask. And let's select some times like so. Alright, now, let's create the mask selection. Go to version three, base color and change the color to something like this. And the variation to guess. Again, we are going to change these colors in the killing of video that all came together herself. Anyway, little bit yellowish tint. Alright. Now let's disabled it there. And have it close. Look. Alright, that's good for now. And let's continue in the next part by adding material to outlets and also the pocket. So let me bring back everything and see the results through the camera view. Alright. See you in the next part. 10. Finishing Tiles and Outlets: Alright, let's continue and add some materials to outlets. And maybe the look of the ties. I'm not happy with the tides, so let me isolate and go to athletes. First of all, add another folder called space. It's alright. Now let's give it a color. Alright. Outlets are made of plastic, so it has a little bit of a subsurface states. So we need to let me go to another one. Yeah, This is much better. We need to derive our subsurface based on some baked HashMaps. One of them would be thickness. Can see I can switch between mesh maps as well with disruptor or simply hit B and cycle through all of the mesh maps. Thickness, normal water space, ID, ambient occlusion and curvature. We can use curvature and also thickness together. So let's go and filter that byte tied. Click on the icon and exclude. See here. Alright, now go back to the folder. First of all, let's add some color. Fill layer, name that base color. And let's keep only the color and make it a bit whiter somewhere around here. Alright. Now, let's add another layer or dirt and keep the color only. And change the blending mode to multiply, maybe make it a darker. Alright, now, let's go and use the combination of a black mask and generator and ambient occlusion generator. Let's hold Alt and click on the mask to see the effect. Alright, let's balance this out. A little bit of contrast. That looks nice. Let's go back and embellish the effect. Yeah, That's it. Little bit. And shadow here. And also shadow inside the holes. And here, That's really nice. Now let's go and add another layer on top, on bottom, that's up to you. So let's go and maybe name that's hides. And Alt click on the height. Keep only the high channel, add little bit of positive height, maybe 0.05. Select the layer, add a black mask and fill layer after that and go to textures. In this case, I guess the BMW. Those are good. So let's use to be in W3. Yeah, that's it. Really, really good, fake. And it's add some depth to it. As you can see, we can cd cutting edge or seems for UVs. So. In this case, let's go inside the BMW spots filled layer gray scale value inside the mask. And up here in field section UE prediction change the UVB radiation to try blender to hide the sims. But as you can see, the gizmo is so big. So let's go and hide the effect several times. Now that's not good. Um, can see the seams still. Maybe switch back to prediction. This distance. Really doubt we can see the seams that easily. So let's not do the prediction this time. So let's go back to height. Material can reduce the item value. Alright, that's good. We have some bumps. Now. Let's go and add the subsurface. So great. Another fill layer named at SSS or subsurface scattering. And alts kidney at the scattering. Let me switch to scattering channel. Here. As you can see, it's really dark. So let's go and add another black layer mask to the layer and fill layer. And inside the fill layer, Let's go and take this. Where is it here? Thickness for the wall and here wall and floor. And it can still see nothing. We see nothing in subsurface scattering cars are soft surface channel is set to black, so Let's reduce or increase the subsurface scattering, something like this. Go back to mask to the fill layer and add a level on top of the fill layer. Simply invert effect. Alright, now, play with the slider to drive the effect. Wherever you want. Maybe something like this. Alright, maybe add a filter and blur on top to get rid of days artifacts down here, something like this. Alright, let's check the other outlets as well. Where is it here? Alright, That's good. Let's switch back to material by hitting M on your keyboard. But we can still see the effect that clearly. So you have some subsurface sync going on here. Let me play the D. Alright. Now it's subtle, but it's good. Let's can see a little bit here, a little bit here. And that depends on thickness of the mesh that we just baked. And back to the thickness map. Now we use an x. So we can see this obsessed with subsurface scattering. Because inside the display setting in this template, active subsurface scattering is enabled by default. And sample current is 16. Let's do 32. Alright? Alright, it's good. Now let's go to the tides. And let me open up all of the versions. Disabled color variation for all versions. And different colors. Sampled from my concept. Here. And maybe here. And one would be something like this. Yeah, that's more like it. And inside the color variation is cool. Here, it's not dead coals, so let me capture this color. Alright, now, calibration tree, It's not good. Select the layer. I drop this color. All right, now, looking really, really better. Now, let's add more terrorists. Closer on the folders. And yet, let me go to d times there, Alt H and E. That's not dead impressing. So let me disable and enable it. Degenerate. Me, disabled that, go to mosques and see if I have anything. Cavity is dirt, cavity maybe good so that I can drop it in sight. Yeah. Let me see the overall shape. Alt click on dirt. Disable the sharpness. We look closely. Here. Sharpness might be too much here. So there is this paint. You don't need paints, so let's go back to mask when they're only and less contrasty. And maybe less level. And maybe the ground open up the ground and scale like grunge up. Go back to material level and see the result. Alright, let's bet. That's bad at all. So alright, let's see all together, go to texture scientist and show all. Check everything closely. We have some collision here. You can see that but that's there. Alright, now, let's go and put the outlets and between a floor and tides. And in here floor, let me isolate the material. Let's add a pre-built material to the dummy floor here. So select the floor, go to Assets and maybe here. Maybe this is not a bad idea to use this. Drag and drop it inside floor. And enabled the filler layer. Alright, add a black mask. And here filled polygon, field and mesh. We'll select this much only. All right, Good. Great. Let's go and in the next video we'll continue working on pocket or hardwood floor. And close up this chapter. Alright. See you in next part. 11. Making Height for the Floor: Alright, in this part, we're going to add metadata to the pockets or put floor. So let's start. First of all, let me change this to me. Alright? And kids. Yeah. Let's make a folder called height, such as walls. We're going to start with height and build optimum material from ground. So let's go and add a fill layer. Alt, click on the height and just keep died. For now, let's add a little bit of positive fight CD effect. So next, let's go and change the name to the base, same as four. Alright, now let's go to textures. In here we have a pattern creation called a vote that's going to ship with the substance. And we can use this or simply use one of the one of the grunge maps. Let me see if I find it. Seem that there's a vertical line knitting something like this. The crystal to, or some maybe here. And at some var2 it, let me show you add a black mask to the base and add a fill layer to their mask, and drag and drop the ground to the grayscale. That's going to see if you have a little bit of height's going on. It would go back and add more height. And what's on maybe negative height. Alright, That's more like it. And let's go to orange base. Let's not change anything and just add a filter on top. And choose the blur direction. As you can see, the direction is here. We need to change the direction to be something like this, 90-degree. Alright? And we have some issues here. So after tides rotate it the other way, let me go to your view of three. And as you can see, let me find it here. Some of them are rotated. So in this scenario with this, we need to project the grunge maps by using a planner. Alright, now let's tie that several times. That's not going to work somehow. Let me choose planet projection. And from top by using this icon as surface tool. It's Korea dragon syrup, the surface tool to project on the surface, but somehow is our resistance. So I don't know why this thing happening. And that might be a bug. Or maybe it's because the blue direction that's not following the projections. So let's not use the directional. Go back to Grant and use something like this is more like vote patterns. So let's drag and drop it inside Christian. Alright. And now let's rotate that and simulate the fake directional by adding more tied to the one direction, ten times in this direction. And maybe four times or three. Times on this direction. Now we have some weird patterns going on. Let's go back to material and this time add more positive. Alright. This is one way to create a pattern. Let me disable this. It's Control D to duplicate that. Go back to grunge. Let me go all the way down and choose one. And drag and drop it inside the gray scale value. This time. Lactate, repeat, tile. And negative value. Right? Now because the wood one is the substance material and you have some control over the shapes, such as nuts, more nodes or less. And hardness. I'm not sure what that thing do. Less hardness. Yeah, that's that's a simply bluer. Let's look closely here. If I reduce that, it's going to be billowed out. And yeah, that's it. Nothing special. So this is one way. So let's go and choose between these two. Or o, or maybe, maybe let's go to this one and maybe tile debt, round to buy, maybe something like this. And Tareq and cetera this, or maybe I can throw this up here. Now we have both of them and combine them together by lighten mix. Alright? And you have some issues here. If I, if I'm not mistaken, we have a filter called height Berlant. Maybe not here inside subjects design in here. We don't have the height blend here to height Poland. Alright, let's go delete all of the tiles and out of the grayscales. Enter, grab this one button. You'd have the other one. Where is it? Up here and again here, surrounding area. And put it here. With this tool, we can heights blend between these two and make something entirely different than before. Alright? And let's go and add. There are filter this time. Use the where is it D, transform maybe and rotate them all. Or use the tray planner advanced. And make that 90 degree rotation on all directions. And the texture. Alright, good. And it's going to hide blend. Alright. We change some of the effects settings and maybe a little bit less hardness, less knots. Alright, that's one way to make wood pattern. But I really liked the old way. Let me hit Control Z. So at times, Let's go back to the nut height blend. But this two woods, alright, maybe multiply them together and invert this top pattern. Now, we need to make to version of this, just like the coloring in it, the tiles here, the title is we need to have a variation because this is two linear and two are noticeable there repeats are too noticeable, as you can see, the nuts cuts here. And that's not good. So it's good. And it's Control D. And call that base version two. And maybe we need to add that to eight folder. So copy and paste the name and select mask. And let's go and select. Some of these are random words. Just look for the patterns and try to break down. Maybe here. Alright, now, here we need to change the planner projection location. Just drag the Gizmo. Let me hit Control Z and move that. As you can see, just moving an offsetting the plan. And here in the fall there the base version two folder just switch to height and change the blending mode to replace. Now, this way, we can hide its can see disabling, enabling the layer. We can break the pattern creation and have more randomness to the planks. It'd be V1 here. Alright. Let me look closely and maybe break this one. Let's go and select it with one and move that more. And also this grunge. Alright. That's more like it's MSH2 height channel. See the results. Yes, Good. Alright, Now also, we can overwrite some of these effects by using some baked a mesh maps. Let me go back to mesh maps. Curvature. We can use this or maybe ambient occlusion or thickness. Thickness. Alright, now, create a fill layer and maybe call that edges. Add a black mask, add a fill layer. And insightful layer thickness already selected. So let's select thickness or this material, the volun floor. And if I hold Alt click on the edge. As you can see, we have some edge selected, but we need to add a level derived the effect to the edges. Something like this. Alright, Now we have some harsh edges. Let's add a filter. Filter. Blur a slope. And maybe 100 divide. They are little bit less intensity to break the linear Luke. And here we are in heights channel. Let's use Replace. Can see we have some effects going on here. If I reduce the height value, can create some dense looking things. Let's go to level, invert that. And the blanks are really out of pattern or not pattern anymore. Let me reduce stiff. And yeah, something like this. Alright, now, let's go here and look at our base and variation. Alright, now, let's go and inside the base, at a banker point, where Jen Vaughan and in here, here, anchor point. Where two. Alright, now that's going to be our height. In the next video, we're going to add more color and roughness and other good stuff, all of the good stuff and finishing up the plank and also this chapter. See you in next part. 12. Finishing the Floor: Welcome back. In this part, we're going to add more color to the c. So let's go and maybe add a folder named that. Alright, now, let's start by creating a new layer name that base and art critic and the color, keep the color only. Add a layer to the scenes. Something like, let me capture that from here. That's right. That's right. So let's go to the brownish area. Pronounce something like this. For now, let me enable the roughness and add more rough and make it a little bit lighter brown is alright. Now, hit Control D, disabled roughness. And maybe version one. And a black mask layer. And go to anchor point. Vote. One. Change the color to something more. Light. Here, I guess. Yes, maybe. Alright, now it's Control D and cut that version two inside the layer, inside the mask and change the anchor point to var2. Alright, now, let's change the color to maybe something darker. Alright? Maybe a bit lighter somewhere around here. That's more like it, so but the base color still lights. Yeah. Something like this. Rotate the light. Alright. Now let's go back to height here. And maybe less sites. Let's switch to hide, channel and CD if f t and it's not bad. Now, let's add more color variation. Just by hates constantly and copy that. Maybe at some sunburn. Delete the fill layer and fill selection or polygon feel mesh field. And let's select maybe around this area. And change the color to something lighter. Switch to base color channel and change the blending mode to something. Maybe divide as good. Difference. Difference is good. Alright, now, let's add paint to the region three. Switch to paints. And you already have a paint selected, but not the proper brush. Let's go to brushes and maybe this brush and hit X to switch that to a darker color and paint surface areas. Or maybe simply repeat all of this, clear the mask or remove the mask. And a folder. And add a black mask to folder. Select some random planks. Alright, now we are affecting disciplines. Go to version three and add a black mask, a fill layer inside the video. Next, let's derive the effect by using a grunge maps. So let me find it. Grant map that's suitable for this scenario. Maybe something like this. They're going to drop it and play with the balance contrast. Here that we have something. So let's go back to a folder and select more lags. Maybe a little bit more here. Alright, I'm happy with the look of the blanks. We might change the colors but nothing this part. So let me see. Let's sunburn a fill layer on top. I'm making this inside the folder. That's nothing. That doesn't matter for now. So let's add a direct effect here. And let me use an MCT baked mesh maps by hitting P to cycled through curvature one is not bad, so let's use the curvature. So any black mask and they feed layer this time inside Chris can look for Eritrea. Curvature 15, I guess. Yeah. Alright. Hold Alt, click on the mask. As you can see, we have curvature going on here. Let's add a level on top. And let's hide in the curvature to the edges here. All right, now, let's add a filter, filter off. Is it the slope? Thousand more intensity? And let's add a fill layer. Change that to multiply and look for interesting effect. Maybe something like this. Not that one. Maybe, this one maybe hit subtract instead of multiplies so they play with the level. Here we have something. Alright? And multiply that. And if I just add more roughness and darken the color, as you can see, we are having some effects around here. And let's go back to level. And derive that back a little bit. All right, that's a good enough. Also. We can add another fill layer, maybe that curvature. And this one, they're all undergrads. Alright? And a black mask, the layer. And just add maybe something like this one. I guess you have to change the opacity overall balance and hit Multiply on color blending mode. Also, as you can see, the material we have roughness enabled. And if I change the roughness changed based on the grunge maps. So it's a good thing. But we don't need to have anything but letting this scenario. All right. And now let's go and add a fill layer named that roughness black mask layer. And let me find a I'm grunge, maybe like this. Go back to material, keep. Just a roughness. Alright. Now let me go to possession so you can see the effect. Maybe rotate that. Go to grunge, rotate the ground. Alright. I think that's enough for now. And go to camera. Bring everything back. And yeah, that's good. And it's safe. I think is really good. But maybe adding some dust or dust effect, it's not a bad idea. Let the team be saved and then add some dust by a texture. We have a baked based on cabinets and chair's position, also, the fridge and other things. Anytime now. Alright, that's enough. The file is so heavy, so it's going to take awhile. Alright. Now let me isolate it again. Add a fill layer called that a or maybe dust. Why not? And just color and roughness. It's going to be rough. And the color, maybe this color is not bad. So let's add a black mask. And this time at the generator, generator of ambient occlusion, and it's inverted, so global invert. And let's balance that here. Alright. It's changed the wilderness of collusion. And balance. Here we see everything, alright, now, maybe not dust, it's there. So multiply the color. Alright, Now we have some shadows. We need to break down the edge of the shadows, I guess now. So let's add a fill layer and maybe set that to mean or darken. Go to your texts chairs and may be here. Maybe cloud three is not that bad. Alt, click on the mask and let me change some of the options. It's not a good mixture, or maybe we change d blending mode here that's more legged. It did break the edge of the shadow. So that's good enough. All right. Bring back everything and going to camera one. Alright, now, this is good. This is enough for now. In the next chapter, we're going to make material for the cabinets. Let me see the cabinets. Isolated. Yeah. Cabinets, tiles under tarp and sink and facets. Alright. They should be fun. Now, we are done with the ball and other things. Let me hit Render to see the results. Here is the Render. Hide behind the you like, alright, here. And hope it's not going to crush. So. Alright, that's good. That's really good. Alright, let's go to display setting. Change the grid. Is it panorama to bus garage? We rotate the light really, but it's maxed at ten seconds. So let's add maybe a 100 seconds to have more clear image. And as you can see, here, we have solid-solid phase enabled on everything because we only did the subsurface of 0 in this materials. So we have subsurface of one and everything else. And that's why it's hard for Substance Painter to render out the scene because this top surface everywhere. But the overall look is good. So let's go back and save the project and see you in next chapter. 13. Making Height for Cabinets: Hey guys, and welcome to the chapter interior of this course. In this course, we're going to, in this chapter, sorry. We're going to make some texts, cheers for D cabinets. Alright, now, we have two types of cabinets. But I'm cabinets and a tub cabinets and also some tarps that same as our tiles. So I'm going to copy the material from tiles. But for the cabinets, we need to make some woods and paint on top and little bit of damage. And also some plastic for the fitting yeah. Fitting or feets and also the metal for handles. So let's delete this base paint layer, default paint layer. And as always, we need to create folders because inside the cabinet material we have some UV tiles you didn't tides. Let's see the UDM tines. We have three cabinets here and tops meet the meetups. And also some fabrics and the sink. And I guess those are the handles, facet and sink. Yeah. Alright. Now let's go back by hitting F2. And let's break the model to guess 123. Maybe four or five section, alright. One 2345. Maybe you, one for Cabinet down, Kevin it up. Or maybe it's cool. And one for one for sync and facet, and one for metal parts and also fabric. Alright, let's give them a color. And let me go to tie filter or tie mask. Exclude all for the woods. At these three parts. Or the same, exclude or include sync with facet. The metallic part. Let's go here. Exclude all and they all in the same time. So they masking easily and fabric exclude all here. Alright, let's start with the votes. And as always, we're going to start with the height. First of all, let me create a material, tester material and grab one of these textures and find a nice texture, something like this. And tie a few times and test our model. Our UV direction. Yeah. They seems to be incorrect direction, all of them except maybe this one. Alright, so let me delete this from base color. And this material named at base heights, right? Alt and click on height. Add a little bit of positive height. And black mask layer to the base height inside the layer. Let's go and find a soft detailed grunge and let's go up I guess. We have something up here. Yeah, something like this. Let me find one. Maybe this good. And rotate that 90 degree. And maybe.5 on the repeat. Let me go back to base height at little more height to see this. Clearly. Here we have some issues with D protection. So let's go back to grayscale, put that on trade planner. Now let's go back to one tile. Repeat and inverts. Alright, now, let's add a little bit of variation. If I break the tiling and one for this direction and less, something like 0.8. Yeah, it's going to act as directional, directional blur. Alright, now, let's go to the side. Maybe make it less obvious. Alright. Add a fill layer on top, not to live in a field layer on top of the previous layer. Let's go and find a something like maybe this one, It's something directional. Not as fun as the previous one. Maybe this one. Let's try this. Alright, now, set the partition, stripe learner, tie lit a couple of times. Alright, maybe more, six times. And let's drag and drop it behind this layer. And let me drop the opacity of the top layer. We have some randomness going on here. That's good. Alright. Now, let's go and add a Anchor Point to use this height inside the color value. And let's go and add another hides and Control D on this layer and delete all of them. Maybe buying height are fine. Alright, now, let's see here in this direction of light. Alright. Let me go and grab a seat. What we have here, maybe something like this. At a black mask, It's already have a black mass. So Edit, Fill Layer, and drag and drop this one. All right. Try planner. Maybe six time. Repeat and go and make it less obvious. And maybe go to height channel throughout down a little bit from maybe 50. Alright, looking good. Now we need to add some edge damage. Alright, so grab another one, or maybe duplicate the previous one. D, and let me call that height or edge damaged. It's damaged and add a fill layer to the Black Mask. Let's use our baked a curvature. The cabinets is here. Alright. Let's hold Alt and click on the mask. At a level on top of the Fill Layer. Invert effect or maybe not. Let's play with this slider to find edges. Alright, good for now. Add a printer and choose the blur slope. We need to have or divider and more intensity. Alright, now we have our edges selected. And also you can invert the effect. Yeah, I guess the inverted version is better, so let's go to level and hit Invert. Now we have a little bit of dense here at the edges. More blue, right? And now, if you want, you can replace the height. So let's go and change the blending mode of high to replace or multiply. Nuts. Use the Linear Dodge. Add. Now, let's go and add a anchor point. The name is damaged mask and another anchor point for fine details. Alright, it then, now let's create a folder called that. And I can drop it inside the height. Alright, that's good. Let me review one more time deep. All of the masks are rights. It's good. It's good to live. Well, make that darker. Something like this. This mask. A little bit too big. So let's go here. Maybe ten times. Art critic and Isthmus. And yeah, looking good. Alright, it's good enough for now. Alright, let's add colors to three, alt color and color. Those are dummies. I'm just testing the anchor points. So it's ad is color, something red dish and something bluish and something greenish. Alright. Let's go and add black mask and fill layer to all of them. Lack mask and fill layer and other black mask and other layer. Alright, inside the layers, Let's go and click on grayscale, got anchor points and four now, base height, dread on. And anchor point of detailed fine. Alright. And anchor point for the edge damage. Alright, now, in here we can go to Levels and invert the anchor point to target on the dais areas. Right, and that's looking good. Let's go to height. Maybe in this fine details. David, balance and a little bit. And this grunge and less contrasty. Also, the top one. Alright, That's detailed enough. In this second fine detail Garage, Let's break the connection and make it something vertical year. And maybe 25. Repeat this direction, ten on the other direction. Yeah, it's good. But it's really noticeable repeating patterns. So let's Qu and maybe add another one. That's coming from the fine detail, I guess. A blue one. The blue one is the detailed. So school and inside the detailed add another field layer. And let's find another grant or simply hit control D on grunge, copy debt. And let's go and grab your gizmo, not overwriting data. So let's go and change the gray scale to something similar. But maybe this one. I guess I need to yeah. To add some paint and subtract. Here. You find a brush. Maybe some brush like, Oh, not loading, something like this, or at now. Not going to work. So delete that and delete the other one. Let's hit Control D. Copied one of the detail, and let's go and move that. Here. Add a paint, not paint layer, a paint mask on top. Subtract again, and paint some of these areas. And also, we need to make a copy of this layer. Change D. I need to change the anchor point name. So let's go to second blue color and use this mask instead. All right, let me change some of this pattern, repeats and paint maybe here and here and try doors. Also on top, it's really noticeable. So break the pattern like so. Alright, now is good for now. In the next part, we're going to add colors and also roughness. See you in next part. 14. Cabinet Color and Roughness: Welcome back. Let's go and add some color to the votes we just created. So for this to start with a base, first of all, we need to have a neutral base. So maybe some color like this to occur. Alright, in this second layer, Let's go and add. First of all, it's captured it this color. Maybe a little bit lighter color. Alright. And this two layer it's going to act, are going to act as chips. So let me capture color, make them a little bit darker. And also this one. Let's go back to second fine detail and paint out this repeating patterns. Alright, now, let's go back here and capture a little bit to our care. Alright, now, the damaged part needs to have a lighter color. Something like this. Alright, now let's go back and make it a bit lighter. Alright. Now, we have some repeating patterns still up here. So let me switch back to paint. Alright, now, let's go up and add a paint in layers. So first of all, it gets, it's better to have a folder dedicated to paint. Paint here. Paint, color, base. Let me catch it for the concept. Some Hulu, guess. Bluish, greenish tint. Something like this. Right? And less glassy inhibitor offer. Alright, now, let's go and select the folder and add a smart mask. We have a old paint paint, old dragon throughout top of the paint layer or paint folder. It's inverted. So let's go to mask editor and globally inverts. All right, that's looking good. And inside the height, we have two options. We can go and sacrifice all of the height that it just created by using a replace or just lower than the opacity, a little bit. Replaced that. And lower the opacity. Just keep that on Linear Dodge. Here, that's looking good. So let's go to my mask editor and guessing textures. You need to lower down the texture a little bit. Or just go to texture inputs setting and balanced texture. Alright, That's looking good. Maybe needs to be a little bit shinier, but not the linear shiny. So let's go down here to the base color enabled or off. And make that really rough flu switch to a roughness channel. Yeah, they all look really rough if I disabled the paint layer, so enabled debts add a layer on top called roughness. Only keep the roughness value. Black Mask, add a fill, and let's go to the textures and find a. Let's see, grunge can get dirty and it's not bad. Let's use them At drag and drop it on grayscale value. Use a try planner. And like so. Maybe add more contrast. Let's switch to material. Rotate the lights. Yes. The shiny areas are too shiny. Hold Alt and click on this mask. I'm not happy with this. Grant. So let's go and find some thing like this. Go to garage, input and replace that. May be less. Repeat. And inverts to cereal. That's not bad. Also, you can use this grunge material, enable the height and add extra height if you want to have more traumatic effects going on. For now, let's not do that because I guess that's too much. So let's not do that. Let me enable the walls and floors. Compare them together. All right, Good. You're in a low quality side, but in the export video, I'm going to show you how to export even more resolution or get even more resolution out of this almost meat level of the resolution. Alright, now, let's go up. First of all, what is this, the edge damage. And this is What's that called detail d t version to this one. Equation one. And this one is we have already a base color. And it's called that base. Alright, now, above the paint and it's going to add a folder called fill layer called a o, and just keep the color and roughness throughout the color and make it more grayish. Alright, now, go and add a mass. If we layer. And let's go to not fill layer. Alright, now let's go and insight D masks cavity, it's type cavity, something like this, I guess. Give it a rest cavity or it drag and drop it. And make the color Multiply. Maybe a little bit darker. And switch to Kevin t. Sand. That one either. Characterised store much. Alright. Alright, let's use the generator. And then two collision inverts. Let me hold Alt and click on a mask at a lev valence or just, Let's go here. Berlin steroids to something negative. D's. And also rough, really rough. Let's go back to generator and maybe even a bit of contrast. Alright, skirt. Now let's break down this linear lines of A0 by adding a fill layer. And some threat or mean dad maybe subtract, where is it here? Subtract and go to here to the texts chairs, and choose one of two BMWs. And a little bit less opacity. Consider a fixed here. Alright. It's good enough for the cabinets going to edit that in our killing of videos. So yeah, I already forgot the feet. So maybe get another folder for plastic skull and this time get a black mask because I guess the beats are inside the, inside the cabinet. So black mask and polygon feel mesh, field and select defeats. Alright. It's not that specials. So let's see, use a guess inside the smart materials we have some rubber. If I'm not mistaken. So it's a plus d. It's type rubber. Plastic. Plastic or rubber or I guess this one is good. Rubber tire. Yeah. This is the one. Drag and drop it. And we have some bits. Alright, now we need to go to plastic folder here, replace the height, right? And also replace the normal. Now we're good to go. All right. That's it for this part. The next part we're going to make some material for sync. And metal. And metal means handles, sink, and some fabric materials. So ceiling parts. Let me enable this. Alright, switch to camera and see you in next part. 15. Metallic Material for Sink: Welcome back. In this part, Let's go and create some material for the sink. And that's it. Alright. For the metallic part, you can use the provided base metals such as silver pure or let me see the titanium pure, iron, rough, ion, shiny, and all of these good stuff to aluminium pure, it's looking nice. First of all, let me show you how to make a perfect metal. But just the basic field layer. For making metal, you need to have a metallic value. So let's put the metallic value on one. And with no effort, we made some metals for the shininess or glossiness. You have control over the roughness. Alright? And also the color. That's simple. Now, we made some metals. But if you wanted to make accurate metals scientifically accurate so we can use this provided a base materials. I'm going to select on my fill layer and select non aluminum pure. And it's going to replace that material. Alright, let me rotate the light and it's good. Let me count this base. Alright. And CD here the concept. And we just need to add some maybe edge imperfection in roughness value. So let's go ahead and add a fill layer, call that roughness and art critic on the roughness to keep just the roughness value or office channel. The Black Mask and fill layer. And let's go to our textures. Yeah, let me find a sure Chris scale, something like maybe this one, drag and drop it. And it's can see it just made some imperfection in roughness value. Let's go back to material. Made it more off to see more clearly. Go back to your grunge and it's changed the grunge value. Alright. Let me see and find the use seems. I guess there's no UV seams, but let's add a UV checker generator to make sure. So disable all of them. Add a fill layer for test at the generator to that fill layer. And inside Jerry tone, Let's find the UV check here. Alright, now, as you can see, we have some seams here and here. It's disabled. Can barely see over here. Here. We can see the UV seams here. So it's coincide the roughness and then we delete, delete it and check your go-to grunge and make it try planner. And now you need to have more repeats. So let me repeat that three times. And there's no, No more UV seams. It's good. And let me change the grunge. That's nuts. That impressive. So maybe something like maybe this one. It's not too bad. So after this grunge, let's add a generator and select the curvature generator. Let's see the result by holding Alt and click on the mask. It's good. Curvature. Berlin stead in there because I'm targeting the edges. Let's play with the settings. Alright, now, let's go back to our curvature and maybe move this one up and change the blending mode to something like here the darken. Alright, now let's invert that because I guess this is more accurate. Let the HSB clean air and yeah, it's more like kids. So we go back and maybe to time of repeating grunge. Alright. Now let's go up at another fill layer called that a desert. Just keep D N or roughness the mudra or offer and color maybe here and change the blending mode to Multiply. It's a bit too dark, so yeah, it's good. Let's make the O right. Now. A generator or yeah. Let me add the mask and at the generator to Black Mask and use the ambient occlusion. Let's see the mask. Go to generator and Berlin stats. Somewhere around here. Alright, let's break the edges by adding a fill layer. Set that to darken or mean. And let's find a nice grunge. See this one. Yep. Drag-and-drop. As always said, that two planner maybe tailored three times or switch that to multiple EM, multiply it more suitable. And here that we have some dirty sink. Alright. Now, let's select all of them. First of all, create a folder and call that sink inside the sink, drag-and-drop all of them inside the sink. And let's add a black mask. And with the polygon feel and Mish, we'll, let's select D, just sink, alright, and create another folder. And call that for now F or facet. And let's select the only facet. So dragon or Control C and Control V, all of them inside the facet. Now let's go and change the settings so the roughness. Let's end leave that. Let's go to a o and milk or orange this time. Go and change these settings. Something like this. Alright, now the curvature one, we drop the opacity T here. Alright, that's good for now. See all of them together show maybe a little bit less of this grunge here. And a bit less this grunge on a dirt. Alright, Now you have something leg this part. Now. Now let's go and at some metallic to these handles. So let's go ahead and this time use one of these smart materials. Still dark. Alright, let's drag and drop it in sight. Let me see in through the camera a little bit too dark. So let's go inside the steel dark and it has a scratch layer and metal layer. In the advanced parameters. First of all, I'm using OpenGL, so let's convert the normal to Pangea. And let's make it a bit lighter, a little bit more and less shiny. Metal roughness here. Make it a little bit off. Now and let's make it a little bit darker. So yeah, it's good. Alright, I guess that's enough. For now. It's good. Maybe a little bit. Normal value, it's not a bad thing to add. So let's add a fill layer and call that normal. And use the height value only at a bit of positive black mass fill layer and it's fine. It a texture of maybe BMW spot gets That's good. Now. And we have no visible scene. Because if I zoom in really closely here, I hide this seems here. Behind the camera view. Can see. Reality seems. Yeah. Let's go back to camera view. If you want, you can lock your camera. Let's go to camera inside the display setting. And here you can click on the luck. And if I connect it on, luck no longer have control over the Zoom camera and I need to switch the camera if I want to move in a scene. So let's go ahead and unlock it. Alright, then it's good. I think I need to move this glass up because let me hold Control Alt and right-click on Clark. Let's go to F3 and find the clock. Where is it? Here? I have some meshing side or behind the glass. And as you know, you can't see the opacity value or none opic teams inside the viewport width d shader. So I need to move that in model level and put it back after texts sharings. So I'm going to move that in next videos. So yeah, let's come together in Nice. In the next video, I'm going to add more textures to the cabinets. Let me isolate that. Alright, we have the tiles and fabric. So see you in next video. 16. Fabric and Tiles: Welcome back. As I said, I just move the glass or the vol clog up so we can see the inside of the clock and texture that out. Alright, now, let's isolate the cabinet and continue working on the cabinet pieces. Next, we need to add some pattern T fabrics. So first of all, let's start with the height or normal. So let's go and hold Alt Click on the height, would have positive height at the black mask and fill layer to that. Alright, let's go and have some wave pattern down here. Let me try this for now. Can see dad, let's go and add more height, correct? Sku, and maybe tie that. A really high number needs to be rotated 90 day query. Let's check the other pattern. I guess the, um, let me it this, we've also now it's not the one screw up. And as I remember correctly, we just used guess. You see this one here? Yeah, this is more like it. So it gets this much repeat is good. It's goo here and add more. And take a guess for now. Alright, that's good for height. We need to move that to sit correctly. And deep metallic part. And also awesome. Let's go to metallic part. And yeah, let's throw seat coffee. This material, go back to what is it devotes woods and create a folder and a black mask to folder. And call that metal. And let's select this one. And also in here, this one. Alright, and pasty material. So we have some metallic parts here as well. Alright, now, let's go back to a fabric. And we need to ape pattern to our colors. So it's a layer. Maybe for now, let's call that color one. Just keep the color alt, click on the color. And some partly colored from Our concept. Little bit dark. So goatee, greenish side. Maybe enable the roughness as well and make it really rough. And let's go and add the black mask and fill layer. And let's go and find a pattern. So see patterns. Which one is more? Let's try this one and rotate that 45-degree and eyelids to be something like this. I guess it's not perfect. It look like the concept. But I'm going to use only the provided patterns. So let's find the closest one to the concept. Maybe this one, strike interrupt it. Nor rotation, but that's E. That's more like it's alright, maybe ten times that good. 12. Yeah, maybe. Alright. And also, let's add a folder. Maybe 0, van and CO2. Add black mask with the mesh field. Select this one. And for the top 10 to select this one. Drag and drop the materials inside the folder. Alright, now, below the color one. Change here to color, to add new fill layer called Color. Run. Keep the color only. And let's make maybe some color like this. Alright? Happy with deet and pattern. Not that. Alright, our choices is not dead white. So maybe this 190 degree rotation but less tiling. In birds. Let me see all together. Not that impressive. What the Z tried to S1 and less tiling. Nope. No rotation. This one is more like, alright, now let's, I said it again. Go to Z2, same pattern. So let's see the height control V that folded too. And this time rotate that 90 degree. Alright. Now let's add some other patterns. Just named that. Hi there. To add another. Let me hold on the color and Cutler instead of one and Alt here. And it's at a pace color, something like the pinkish tone. I guess that's good. And in the top color. And let's make it red. That red. Alright, that's good. And a black mass and fill layer. After that. Let's go to ear. And let me find a squared pattern. What about the timing generator? But with d square? This is same type generator that you find inside the substance. Designer needs to be inverted. So let's add a level and invert. Go back to tank generator, pattern, scale. Here, number of x and y, vector size. And now we have something like this that's really accurate. At the base color. Let me sample that form the pattern, then. Make it lighter. Here. Alright, now, let's go above this twofold. At a desert. Keep the color and roughness. Make it really rough. And multiply the color. Black mask and generator. Alright, Now, a intercalation generator control alt. And the mask and school change some settings, maybe inverted. Not that inverse because we need to do this inside of the fabric to be darker. So we go to Ambient Occlusion settings and make some changes. Alright, Not bad. Let's hit Control D and call this curvature delete till collusion. And at another generator curvature. And let's change the curvature sittings. Maybe something like this. Less parades around maybe here. And make that literally dark color. Now drop the opacity of the color. Alright, it's good. Now, screw and change this at another folder and change the name to tide is a guess. Yeah. Give it a color. Let's go back to the floor. Inside the times we find the tides here. Let's see the whole team go back to cabinets. And first of all, let's go to the UV view. Yeah, those are in separate tiles. So let's go back F2 and exclude all times. Include these two tiles and Control V. Paste them. Alright, let's go and disable the desert for now. Version two, version three. Yeah. It's enabled version to clear the mask and acidic the polygon field and mesh. We'll find some tides to select. Alright, now, version three, here, the mask and select. Some random times. It acts to bring back some of the tiles. Next. So we go to dirt setting and change, didn't dare to level there's contrast. And yeah, that's good. Now, let's go and check our height. And as you can see, we need to add a fill layer with only height and scatter. Also, let's go and add the opacity of this layer. This material, the cabinet material, enabled opacity, drag and drop all down. Base, right? So phase and opacity. Now we have correct height and also switch the scattering. Scattering. Also capacity, no opacity. Switch back to material mode. And let me go back to sink and make it sync material to our care. Alright, and also the facet. A bit darker, like so. Alright. C together, go to camera view. That's acceptable. So let me hit Save cabinets safe and see you in next part. In the next chapter here, next chapter we're going to make material for the appliance such as fridge and toaster. Also the oven and your blender. See you in next part. 17. Making Material For Refrigerator: Hi guys, and welcome to the Chapter four. In this chapter we're going to make material for D appliance or is it D this layer? Let me isolate that and see what we got here. We have a toaster oven with some fabric on it, and a blender and a fridge. So first of all, go back to cabinets and go all the way down. Copy this base, ich es o. As you remember, this is the height 0, does the scattering 0 or black, and also the opacity of one. Everything is opaque. So let's go to appliance and first of all, paste that layer. And if I go to height, it's dark. Scattering, starch and opacity. We don't have opacity here. So let's go to texture sets sitting unsupported by shader and opacity. It's one or enabled by default. If I go to Park City, yeah, that's all of it. M or switch to material. Now, let's create 1234 folders and give them a color. And also name. Ref re G. Alright, let me see. Three generator. If I spelled that correctly. Alright. And after that blender and a oven and toss tear, alright. Same as before. Let's go to mask by tides, exclude on and just drag and drop, dragging around D fridge. And after that you have blender. So let's zoom in here. The blender. Same for Alvin. And a toss there. Alright. Alright, let's start with a fridge. Inside the fridge, we need to have a folder for the body and handles. And also these paintings here and here. So let's create a folder for body handles or metallic parts, metallic and not painted metallics and paintings. So let's go and call that body. And this one midterm league. And this one drawings, that painting. Drawings. Now let's go to Buddy. First of all, we need to have a base met on a guest that's aluminum or silver. Silver. Aluminum is good. So let's drag and drop a aluminum inside. And as you see, it's going to apply to hold for each. So let's go and select the fridge at black mask. The Pali name, polygon field and mesh fields enabled by default. And let's select these three parts of the model and metallic parts. At a black mask. Let me hold Alt and click on the mask and select the handles based handle and the branding. And another black mass. Let me switch to mask only. At drawings. I'm not sure. You're maybe adding this pins or magnets to the separate for there is another bad idea. So let's create another folder and call that plastics are plastic. Leg. Switch to mask. Only. Select them all. Alright, now we are good to go. Go to folder. And maybe a little bit less view, focal field of view or focal length. Or maybe more yet, the 15 or 2020 is good. That's 50. Alright, if 15 is good to any, it's more like the orthographic view. Alright, now let's add a little bit of texture today to the metallic parts. So select the aluminum pure and go to magic font at filter. And at the one of the, let me see. Metallic finished, finish, powder coated. Maybe this one. Alright, that's a little bit too much. So school and they're up the intensity for the grains, something like this. Alright, That's good. Add a folder on top. Let me call that paint. And let's keep all the channels. And we see we need to capture it colors, so I drop and it's captured really greenish color. Let me see all of them together. And then a bit too dark. Let's go over here. Maybe here. All right, That's much better. Solo that out. And let's go and add a gets the grand dirt. Let's try this ground there. First. It's going to make a mask based on your whereas a d gradient position or the position baked map, let's switch to position baked. Here. As you can see, we have a position gradient. This is down stop, and left-right. But for this specific model, we need to have the position big based on the element of the models. So let's go back to texture sets, setting, baked a mesh map all. And let's go ahead and deselect all. Just enable the position. Click on position. And it's going to be normal or a full scene by default. But let me see. X is, when x is o. We can't do that because it's going to be based on material. It's coin select, bake there to see if this going, this is going to be different than previous ones. So let's bake debt. Alright, that's the same but different for each parts here that's usable. But not what I want. So let me go. And inside the mask editor invert that has, you can see it's going to make a effect, something like this. This is little bit too much, so let's delete them all. We have already a black mask. So let's add a fill layer to a black mask. And insight degree scan. Let's search for gradient and choose a gradient and linear been. Yep, one. And as you can see, if I add more contrast and change the balance, it's going to be something like this. Alright. Let's rotate that 90 degree or one AD. Maybe now it's good to go back to bake mesh possession and now foreseen. See the difference. Okay. Now, something not that different. Let's go ahead and hold Alt, Click on paint and see the result. Alright, we can switch to try planner to affect the whole scene. Yeah, this is much better. So let's go back. Drive that down. Also. I guess we can use the gizmo here, can push that down a little bit. Now let's break these line. First of all, less contrasty. She did up a little bit. And at the layer. And for some reason, again, it's opening on the other screen. Yep, that's a problem. Let's set the blending mode to darken or mean. Let's go to the textures and let me find a some texture like maybe this grunge. Alright. Let me switch d. Lending. Divide is not that bad. But we need to switch to different. Chris can import something like maybe a cloud or find another one, maybe BMW spot the DP and I will respond, That's good. Now, let's derive these effect down. As you can see. We can change the effect based on position. Also. You can go back to your paint at some height and width, something like this. Also. I don't want this bottom part, so let's go to your mask, switch to UV and black dad and select maybe here. Our base. Let me see. That's because Mike. Yeah. And that's because the gradient effecting here. Alright, now the gizmo down. Alright, that's something let's go to paint. And one by one. Pushed it down and then a bit. And I don't want this part to be black or be affected. So let me see what option we have. Black, so maybe try that out. It's not going to work. So let me switch back to our gradient and make it NoneType. If I can't know the periods and invert it's not working. Switch back to Trey planner. And looking at the angle of my EU via an effect in this area only so it's connected 3D view. Maybe duplicate the paint and clear the mask. And at this part. Yeah, that's a solution. Also. You can switch to brush, guess, and brush this part. I don't want deaths kinda lines that live. Delete that. If I go back here and go down to the paint. No high. Alright, that's going to solve the problem. And to know why T Smith? That's something. All right, now, let's go and add a fill layer. And fine detail. Just keep the height at dermatophyte. Let me add a black mask and fill layer. And BMW spots. Good by default. Also add another fill layer and call that the Earth. Just hold and keep the color black mask or fill layer. And as you can see, it's really dark area. So let's go and find a DRT map. Something like this. And thrust and filter. Add a bluer and change the blending mode to multiply. And unlike dance, find another one, something like maybe this one. No blue. Maybe invert that. Change the balance. Maybe use a project tray planner. Three times, repeats and drop the opacity. Alright, now that bet. Alright, In the next part we're going to make material for branding and pins. And after that, there are some painting or some dry ink. Alright, see you in next part. 18. Finishing Up the Refrigerator: Alright, let's go ahead and continue to work on the appliance material and fridge. So it's got two metallic parts and same as before, I guess the aluminum P or is good for the andalso up. And also we need to have some visible edges and there. So let's add a fill layer. Maybe call that edge, um, for now, let's only use the color alt. Click on the color and go and add a black mask. And a PHY layer. Or this particular part. Let's go ahead and use the ureter baked the appliance. Where is it? Here? Hold Alt, click on the mask. Let's go and add a level after something like this. And invert that. Maybe. Yeah. Alright, now let's add a fill layer on top. And a guess the BMW works here as well. With multiply or mean. Here. Remember, Max needs to be tight. So let's go and tie that three times. Alright, guess the subtract. It's working better than other blending modes. So let me just reduce the opacity to maybe somewhere around 50. Alright, now let's see there is a base color channel is selected. Multiply that, and make the color a little bit darker. Maybe tie the BMW six times. Here we have some shininess around here and not so bright here. So let's go to our edge and at roughness, that's a little bit rougher. So let's go back and tie. That's rho times nine. Alright, looking good. Maybe rotate the lights and go back to aluminum pure and add. In a bit more roughness value. Go back to level above the grayscale value. That's our curvature. Make that a little bit tighter somewhere around this neighborhood. And before the BMW, let's add a filter and blur slope. Make that a thousand in divider and more intensity. Let me hold Alt, click on the edge and see the result would be delta v and w. Now we can go back to level and make it a little bit tighter. More obvious. Go back to regular slope. Alright, something like this. Now, let's drop the opacity alright, T, and go to make it less. Alright, that's good. And also, let's go and add another field layer called that a or capital O. Lac mask. Just keep the color. And roughness and fill layer and maybe this time use the collision baked off the appliance. I'll click on the mask. We need to add a level. Alright, now let's make that site and move to occur. Hey, areas somewhere around here and more spread. And the white area, that's the area of need. So go multiply the color and make the color really, there are. Alrighty, it's good. Now, make it a little off. That's looking really good. Let's copy this. A hotel. Let's go back to Buddy. Paste that here. And it's got two A0 level. And let's make it something like this. I'll click and that's what we need. But Lillian it but just a little bit wider. And maybe add a fill layer. It multiply blending mode or just subtract another BMW. And let's break that down with tripe learner, maybe ten times or maybe more. Let me switch to this one. Alright, now, make it a bit lighter. And drop the opacity of w to be something like this. Maybe ten times. Alright, That's good. Now let's close them all. Go to plastics. Alright, we have some magnets. They are definitely plastic and outside. So let's make three colors. First of all, let's make one. So let's keep all of the channels. Capture a color, maybe more, red. All right. Yeah, that's good. And this B2B color and add another layer called debts. Bumped. Just keep the height. Black mask. Failure in other BMW. At height. Inside the bump, BMW, make the prediction to try planner maybe 20 times or too early. And drop the height value. Little bit will rotate the light. Alright, that's good. And I have the a or dirt or a dean clipboard, so let's paste. And it's good, I guess. Yeah, that's good. Alright, now, let's add a black mass to color. Let me which one of them are red. Let's switch to the polygon. Mesh. Fill and select this one. And this two. Those are the red ones. Control. Let me call this red. But we can hinder right here. Alright. Span, orange. Kidney or the mask. Make this to be orange. And select this magnet. This magnet. Alright, now it's Control D, clear the mask. And yellow. Make that array the yellow selected mask. We have one yellow here. Control D changed the name to blue. Alright, now, clear the mask and change the color to capture that color too, because it's a specific, alright, that's, yeah, maybe this, alright. And select this blue. This one is blue as well, and also this one. Alright, that's very close to the concept. Yeah. And we have drawings that up inside the drawings. And let's add a folder. And let me call that 01 through d. D and D, because we have four papers, 2030 for right inside the 01 goo. And those are lenses, so there's no height to them or thickness, so we can just punch the hole as you can see, we have some holes here. So let's go and fill layer or the Fill Layer, call that hole and drop the opacity. Just keep the opacity Alt, click on the opacity, drop the opacity to 0 at a and black mask. Inside the black mask, Let's add a paint this time. Alright. Now, inside the paint, switch to my brush or one. And by default the guests, we have the shape of the circle. And let's make that red heart around 95. And let me change the size. One Punch here. But add a color to dare to CD effect. Alright, now, add another one here and one here. And the art, their papers. Yeah. Those are not just this one. Alright. I'm keeping the color, but just because the debt problem that I talked about the previous video, we can't see D opacity inside the viewport because a shader that's not supporting the opacity. So just for demonstration, I'm keeping the color, but in going to export the textures, I'm going to disable the colors. So alright, let's go and add another fill layer and call that line. Just keep the color. I'll click on the color and make a darkish blue color. Alright, first of all, let's go and select the folder one and the black mask polygon mesh. We'll select just this one. Alright, now, let's go and add a black mask to the line and base material at a fill layer. And let's go. Maybe this anisotropic noise, it's not that bad. So let's drop, drag and drop it here. Alright. Bad. Make that contrast noise parameters smooth. Like this, I guess. And less. Why? Add a level after that? It go back to anisotropic. I'm not happy. So it's going to fill layer. And this time let's go to where is it D? Tight generator. Where is it? Here, here? Or maybe in this strips. And pattern. Rotate. Strip. Let's rotate that 45-degree to make it straight and tied up. And less less time. Maybe something like this. Alright. Now, it's at a, well, I guess if I predict that by planner and a scale that down a little bit. Also, no-repeat. Let me move the whole rejection here. Maybe if I rotate that, add more tips or no. Yeah, let's use try planner and move it here. To have more control. May gets smaller and smaller. That happy with the results. Let's go back to UV protection. Alright, let's go back, cut through Z. And maybe this time let's use another field layer. And also a D. Here the gradient map. Change the blending mode to max. Contrast. Rotate that 90 degree. And offsets. Here. No-repeat. Seeing the effect. Maybe use the stripe planner or just planner. Alright, let's go back the warranty. The lines to be drawn outside the papers. So we have always a paint options. So let's add the paint to paint. This time. Let's use a sick visit, D S square. I believe we have it somewhere around here. Let me see if I can find it here. Square. Maybe a different this square. We have a soft square. Maybe. Maybe if I make this harder, yeah, that's good. Now, make the brush a little bit bigger and change the blending mode to subtract its wide. So it's going to erase hold shift and click. Click here, hold shift and click the debit side. Alright, now let's go back to a line material dropped the opacity here. Right? Now. Let's continue in another video and draw some shirt off. So see you in next part. 19. Kids Art on the Fridge: Alright, let's go back to the paper. And first of all, let's add a police, the punch after the lines and inside the lines now add a fill layer and call that bomb, just keep the height leg mask field. And this time, I'm not sure which one is more suitable. Maybe. This noise, a little bit of a high roughness, also, make it clear off. Gets That's really pay painting. Alright, That's good. Now let's go to actual paint and a fill layer. And I'm maybe not feel the year. Let me think. We need to throw something like so. If I add fill layer, I need to paint the colors separately. But if I add painting layer like so, and need to paint and erase if I made a mistake. So let's try the paint layer. I wanted a retailer. Bright yellow, roughness, MC2 pen, alright. And type the brush here. Find a barrage to mimic the paint FX. See maybe this one. Let's draw something first. Let's not bad. Alright. Maybe make this a bit darker and start painting. Let's child to pay Chinese painting and it's not important the accuracy. So long legs, legs are the same. Sides. Painting is made by maybe four years old, so let's eliminate the long neck. Alright. Now at another field layer, or maybe it's good. And it changed the color to something orangey. Make the brush a little bit smaller. Steve, do the outlines. And also some more dots emit more on the legs. And in other painted layer and really dark, almost black. Alright. And more outlines. Alright, that's good. That's a four-year old painting. Now. You can put them in full. There. And drying. Alright. Now let's go to the Filters. Find d, not all oil, paint, maybe water paint, effect, drag and drop them on top. All right. But I don't want that to be true, So let's use them and each layer. So at Peter, there aren't going to throw up that, oh, it's affecting the paint paper as well. Maybe if I aced this layer up, not the lines. So let's drop the line down. No, that's not good. It's good drawing. But does not pass through normal. Yeah, it's not good. Maybe if I put this three layer inside a folder, it's going to be good. That's not going to work. That's really nice though. Yeah, it's good. But maybe let me see what's to grow in. Dry. Alright. I don't know, maybe leave that nice so that's not bad. Actually. It's good. Alright, let's try one more time. The comic book affect. See that? Oh, that's really bad. Alright. One more time is fixed. Let me see if I I have a sitting here. I'd pay pair. I guess that's working. Oh yeah. It's going to add a paper on top, so yeah, it's going to work. After all. Just hide the paper. Alright, that's good. But I guess the lines, it really, really straight. So first of all, Olympic gold bags and inside the lines, repeat the lines little bit 11 times and filter after the line layer. And the filter would be Barb. Not that much. Warp, less warp with D, maybe a 100 thousand little bit of work. Alright, That's good. Now let's move to another painting, another four-year old painting. So just like the other paper and let's go and add Black Mask. Select these paper. Let me check. Yeah, we're selecting that and add a painter, I'm a layer. Alright, yeah, a space ship putting a home and a person, I guess, flag some star. So let's start with the blue color. Alright. Let's paint some blue, some stars. Also the silhouette of D spaceship hitting pitting ligand egg. And paint some leg for that. Windows. And let me add a flag here as well. There are star and another star. Add another paint layer. Make some really dark orange. That's it. Let's look dark tea brown. Alright, that's not important. It makes some house. It's some smoke out of the chimney. And a guess, a person, two legs and the fire engine and other painted layer and a green color for d t puffy spaceship. And yeah, that's pretty much it. Let's go and add a watercolor. And immediately they're getting some results. Paint opacity, maybe around here for the wrist or their density. Alright, that's good. Maybe this here, Louis bright. So let's select the layer. Add a filter, and there is a d, l and make it a little bit darker and saturated. Yeah, the next, so right now we have two paintings. And let's do the third one. And elephant with some, I don't know what the heck is this a flower? I don't know. Some clouds. Yeah, let's do that. Selected folder three black mask and select this one. Add a pen Tebow layer. Make a purple dark. And let me zoom here. A silhouette of some strange elephant with some tail, ears, triangle face, and a trunk, some legs. And yeah, that's it for this color. Add another color. Orange. Or know what this is. I'm going to paint that birth. Some flowery thing here. And something here. I know what that is. I'm just making some shapers and another color, green, dark green. And to flower. Something here. And a light blue for D. Clouds. Also. Waters. And a D maybe something like this for the flowers. Alright, that's it. Let's drop a watercolor paints on top. Alright, that's good enough. Close enough. Now with the last painting. Same team at black mask. Let me check. At a painting and you have some rain boating going on. So make that beaker, make some colors. Going to add another layer. So let's work with this layer. Again. Gently. Brushing because it's a pair share or is it deep pressure sensitive flow? And a purple team? Let me see. Yellow around the sun, I guess. And here you have enough green light, little bit darker, and light per pill. And on tier and also a brown. I don't know, it's just like animal or something. And a red value here. And also here a little bit here. Alright, That's good. Just drop a water color and ain't opacity 104 there. Maybe this time height to pay pair. Yeah, that's good. So maybe for D here, for this one as well. Let me hide the paper. Yeah. Also for it. It's more like it. Let me borrow the bomb and copy paste here. And this is two and paste in the folder tree. And a folder for. Alright, it's good. But inside the paper folder, Let's go and add another layer. Just keep the scattering. Switch to scattering channel. Make that to be a little bit of scattering going up. Alright, maybe a bit more. Alright, now let's go to camera view is on Control S. And I see you in next part to make some material for the blender. Alright. See you then. 20. Making Material for the Blender: Welcome back. I forget to add a fill layer with the white color for the papers. And I added of cameras. So keep that in mind. I added a fill layer, just color and just really bright color. White, almost white, little bit more than gray at the bottom of the drawing folder. So now free to go to Blender. Here. Let me isolate that place and the body of the blender. Let me zoom here. It's definitely a plastic. I'm not sure this bottom part is the different material or not, but let's make it black. Just like this plastic here that can see clearly. But I added that. So we need to have a metal appear glass, plastic and blue plastic. A silver or metallic part, aluminum, silver or whatever here. A plastic part here, and a same plastic down here. So let's add some folders inside the blender. And maybe call one of them blue plastic and a black plastic. Alright, then metal. And one more folder. And that's less. So let's break down D models. So first of all, let's switch to orthographic. And maybe from this angle or maybe this angle. Alright. Alright, now the blue plastic, alright, diploblastic, it's that middle part. So it's a black mask. And let me add a fill layer for now. C D mask. Clearly. Let's use the Roza de UV chunk field. And that's good except the bottom part. So let's keep that like so distinct, so stubborn. Some reason it's not going inside the folder. That was a bug. Alright, Now a black plastic, so let's add a black mask. Let me delete this layer. And first of all, Alt click. And this one is flagged as well as blacklisting and also this one. And let me find this UV part, or F3 here. I guess this, this is the blender body. So let's hit F1 to see 3D and 2D together. F. And let's see here. If I select with the polygon, polygon to fill, yeah, that's the Bodies, so let me find it. I guess we need to select around here, but not here and here. And also guess this is the bottom part. Yep, that's it. Now, selected the bottom part. Let's go to metallic parts and add a black mask. Alt click. And this two are metallic parts. Also the glass. Here. Yeah. Alright, now let's go to F2 or 3D view. And this time let's go to base materials or just materials and maybe use this plastic mats. Alright, drag-and-drop in blue plastic. Alright. Now let's go and capture the color from the concept. Make it a little bit more bluish here. Alright, and add another fill layer or just duplicate that. Make it a little bit lighter, like so. And a black mask. Let's go and add a fill layer. And just look for thickness. Thickness of a place. Alright. Hold Alt, Click on mass and go to the layer level. Alright, invert that, I just need this part. So let's play with deep level. Add a filter on top and change that to blue. I'm using bluer to hide some of these lines. Alright. Now we have lighter color. Up here and down. She has like death or maybe darker color, whatever you want. Alright. Maybe make this one a little bit darker. Around here, I guess. Let's make it a little bit shinier and leave this plastic in a better offer. Now, let's go and add another fill layer. You know the drill, alt, click, keep the hide, little bit positive hide and black mask layer. Let's go and look for a BMW. Make some normal, not that much. Let's go back and maybe as 0.01. Alright, That's good. Now let's copy the whole thing and paste inside black plastic. And let's go to here, I make it black almost. And this one a little bit lighter. But for this one, let me go to Level. Alright, now, let's make kids to be something like this. Alright? Now let's go to the lighter color and make it something like this. All right. Not bad. All right. That's good. And for D metallic parts, Let's go to metallic. Let's go to D material and choose aluminum. That's good by itself. But at the same effect that we just add two other two metal handles for the fridge. Here. Let's delete this aluminums and the copy, the whole thing. And let me go to the BMW. Let's invert that and enabled the BMW. All right, that's looking good. And maybe less on d a, o. All right. Looking good. And the glass. Let's make a class based on this aluminum. So at deep aluminum and enabled opacity, drop the opposite almost here I guess, and make it a little bit rough. And it filled layer. Just color and opacity. And multiply the color black mask. And let's go to our smart masks and let me see. Dust soft. I guess maybe we need to invert that and add a fill layer to break the lines. This lines, I mean, yeah, maybe this great grunge and makes a guess or mean. The mean. And inside the curvature. Yeah, something like this. Let's go here in the Napa. And that would be the black plastic layer. They fill layer and fill layer of white, almost little bit of roughness and black mask. Uv selection or UV chunk. And use this. Yes, that's good. Let me see from far. Alright, d, darks, darker plastic. It needs to be little bit less stark almost here. And delight plus D. Maybe something like this. A little bit darker. Alright, that's good. And let's go all the way up and see what this is. This bumper guess. It's changed the name to bump. And that's going to be the white line. And the whole thing, maybe below the glass or metal. So I'm just going to affect this two-part. Create another layer called a or dirt. Dirt. Alright. Just colored and roughness. Make it a little bit rough. And multiply blending mode. Add a black mask. Let me go and find a d cavity, I guess. Yeah. Maybe this cavity right here. That's not good. It's them are, use this one. Character asked. Almost no texture. And it's not good. Let's use a generator of care, a chair. See the effect. You need to invert these Effect and go to curvature setting cavities. Alright, some like this. And it's changed some of the settings too. Yeah, that's good. And then Fill Layer. Subtract. Let's go to the textures and BMW as always, to break the uniform ting. Before the pinned WAS. But let's add a filter and it would be blue. Make it a little bit blurry. Let's see the result. And we need to have more darker color. More of this effect and less BMW, and less opacity on overall color. Yeah, it sounds like this. Alright, now, let's go and in the next video, work on the toaster. See you in next part. 21. Making Material for the Toaster: Alright, let's go and make some material for toaster. Alright. Let's see, toaster up-close. I added the breads or toast to the more organic or let me see the organic material. You have some coffee beans and bread and slices of bread and also meet some mushrooms. And also there is a D, apples. So not going to make the material for breads and yet. So let me disable the organic part. It has some plastics here and they all metal. And also Let's stick for the wire. And that's it. Let's make debt. Let's go to toaster. Drag and drop the toaster in the middle and add eight folder to the toaster. Maybe tree, the wire. Let's call that SSS or subsurface because that has some surface, some subsurface scattering to that to it. And let's add a black mask and and ED mesh feel headache that yeah. The plastic part would be added. Black mask would be this part and I guess this and as part in check Alt click and also the metallic part, or let's say Buddy. And that would be the whole thing, I guess. Yeah. But inside the body we have one almost red color. So let's drag and drop a aluminum because that thing made by an aluminum. So let's add aluminum to debase. And that's toaster. So what do we not seen the minimum part? Let me try. I didn't add the parts. So here. Now we have some aluminum signed. Let's go and on top. First of all, let's add more roughness. And also I've finished so a filter and insightful there. Let me find a niche. Yeah, maybe this one. And drop the grain to be somewhere around here. Alright, now let's add a fill layer on top and call that the red paint and a black mask. Let's use the UV chunk to select maybe this part here, this part here, and also inside. And dispatch. Also top. But yeah, we need to invert the selection, invert the color, and use the polygon. Select this part and switch back to white and save this part again. Mch to orthographic. Top view. Again. De-select this part, white and select this one. We didn't select. So again, select this Arts. Alright. Zoom. Yeah, we have some faces here. Let me disable the metallic part. Make this rare to see better. Go up and select this part as well. Check here is not to bet. Ch2 perspective. Enable the aluminum and let me capture the color from concept and a little bit darker. Alright, not too shabby. And let's add a fifth layer called a o. Just kept the color and roughness, make it rough. Multiply the color. Alright, maybe never darker. Just edit black mask and generate or Ambient Occlusion. Lets go and select the mask only. Maybe invert the collusion. Yep. And balance that out would be somewhere around here. Maybe more darker places. Alright. See the results. In a Tibet. Maybe make it a little bit blurry. Alright, that's good. Maybe a little bit here. All right, Good. Now, let's go in red part. And maybe a filter blur to make the paint a bit more blurry. Here. Alright, that's good. Maybe we need to add a logo here. So let me see what we have here. Inside this substance painter. You have a type or if I'm not mistaken, now, text called, let me find it. Not type text. Maybe it's d. Alpha is the alpha here. That's called font. Maybe this team. So let's go and add another fill layer to have more control over the paint. So let's make it white, almost religious graph. At a black mask and a fill layer. Then I can drop the paint. Here. And no repeat. And Planner Project. Play Start here. Alright. And let's make it smaller. And we need to rotate that as well. Yeah. It a bit smaller. Clearly not that responsive. And it's making it really hard. Alright, now, let's move debts next. So let's do it. Peas substance or now. Alright, that's good. Good. Yeah, substance, Adobe. Alright. Now let's go and maybe it's got two blender. We have a plus thick black, so let's copy the whole thing. Back to plastic part and paste. And I didn't select debt correctly. And we need to have more darker plastic here. Alright, that's good. And also the metallic part, the body. Let's add this one to body as well. Just snap. Alright, It's good. Let's go to wire or SSS. Make a gnostic here. You bet. And make it white, almost black or no. Let's see what happens after the material. After adding material to hold things. So now let's go and enable the scattering and delivery of scattering. Let me check the scattering channel. Alright, Not bad. And maybe let's drive this scattering as well. So above everything at a black mask and disabled this scattering here. Call that SSS and just keep scattering somewhere around here and add a black mask and fill layer. This time, let's use thickness and thickness off planes. And immediately can see some scatter on a level and sub invert that. And it's thrive this scattering to be on the, in some places. You go back to scattering and throughout that. Alright. Vector material, maybe make that a little bit rough. Other one. Just keep the height a little bit of height. Same as before in the field and go to textures. Being w, where is it here? And that's enough. It's good. Just for the metallic part. Let me close all of this. Just a buddy. Let's go and add another layer called that roughness. Just keep the roughness. Make it a little bit rougher. Fill layer or black mask layer. And it's got two textures and find a maybe something like this, I guess. Let's check the roughness or maybe just this mask. No roughness value. Alright. And if I go to my grunge, yeah, maybe replace that with something like this. Alright, let's hit em or material. Maybe time that a couple of times and blend. So alright, Now we have some roughness variation. But this part, and also or the paint as well as you can see here. And here we have some variation. Make it more RAF, we can see DIY ethic more clearly here. Alright, good. Maybe this plus the units to this ballistic. I copied the whole thing. So yeah, it's, it's alright, let's go and maybe make it a little bit less dark. And let's dark here. All right, that's looking good. Alright, let's see together our loved ones. It's good. It hit me, switch to my camera and hit Control S and see you in next part to do some material for of n. 22. Making Material for the Oven: Alright, next, the oven. So it's close all the folders and go to oven folder. And oven. It's just a metallic with some color. And also here we have a, some emissive material going on. So let's start with D. Pure aluminum. It's a good start. Let's add a fill layer or the layer and the filter, and the same finish. Fine dads here. And a less grainy some around here. Alright, that's oven. So Let's make a folder for body only. Threw up, make a black mask, and select the body parts. Also the insight. Now, inside the body folder, Let's create a folder called D Paint. Let's add is it D plus the mat? Let me capture the color roughly. Somewhere around maybe here. Alright. But more bluish. Guess. Alright. And that's added white mask. And exclude these parts. Yeah, that's good. Exclude this part as well. And include that also too. Buddy. Yeah. And let's add a fill layer. Multiply on color, match the color to be darker. And also little bit, Sheriff. Alright, now go to smart mask and maybe that cavity. Here. See there is alt. Go to mask editor and make it less contrasty and less obvious. Maybe less texture as well. Yes, good. And also drop the opacity of layer layer and less rough. Yeah, something like this. Also. Let's add another folder. Pine nuts. I spelled that wrong. Let's that n and b to be safe. Not double n and m be naps, alright, now, and a black mask. Select this metallic parts of the knobs, or maybe the whole knobs. Alright? Inside the knobs. And a folder called metal black mask. And select these parts. And those are just aluminum pure. And those are in body, so drag-and-drop them outside of the body. And maybe add a little bit of roughness to D. Right? That's good. Also, add another plastic mats. Drag and drop it below the metal and change the color to somewhere around here. And also we need to add a fill layer or maybe just go down to the toaster. Guess, maybe here, bump into C and here control V. Alright, script. It'd be needed bit lighter. The plastic side here. And let's add a fill layer called glass tempered glass black mask and select this one. Alright, make it black, almost and less roughness. Or maybe go to textures and find a something like this. Maybe drag and drop it inside the ear off as input. And yeah, that would be our roughness value. Now, let's make a base roughness and add a folder called glass just to be safe. So black mask. Remove this mask. Where is it D? Or remove mask? I'm black mask here and select this one here. Just roughness. And just keep the roughness and black mask layer. Now, drag and drop this here. Make that to be around here, roughness. And let's play with the texture. Maybe try planner prediction. Maybe six times. Yes, good. Let's go back and change our roughness. Alright, that's good. Now let's go and Ear create another folder. Count me, see. Alright, now, landmass, good mask and select this Bart's. Those are separated, so make sure to select them all. Alright. Now let me see what we have here. Maybe add a Ireland RAF, but make it almost black. And more trough. Yes, good. Now let's add another folder and call that emissive as well. Just at this one. Alright, no color. But before that, let's go to the texture sets, setting an emissive channel and enable or just keep the emissive. Make it somewhere around here. And now it's on, alright, now, on top of everything except the emissive. At a fill layer a or they're like a layer. Just call it a roughness. Make a trough. Color needs to be diverted. The black side, add a black mask and we find the occlusion and test your collision. Alright, no texture. Invert, maybe. Let's use generator. So select the mask, a generator and where is it D amino collision. See the mask clearly and change the settings. Invert that. And it's good. And also inside the body at a and D inner part, a black mask. Select this box and make it. Alright, and also a guest, we have knobs at this fits to the nubs, stores iron or the same plastics. Sit. And also, if I, if I'm not mistaken Yet, we have a fabric here. Control Alt, right-click and select this material. And where is it? Not ties that fabric yet here? Control C. Let's go back to lions. Make it solo. Go to oven and make a folder called Fabric. Black Mask. Select these two only and paste ear. And let's delete this one. Remove the mask. And also inside the title generator. Let's but is it the pattern Transform? Sit? All right, now let's close that up. And let me select all of these layers here. Optuminsight oven. Now we have some material for urban. So that's it for this chapter. The next chapter we're going to make D mesh material for the accessories. Alright, so see you in next chapter. 23. Making Surface Data for Chairs: Hey guys, and welcome to the Chapter five. In this chapter, we're going to add some materials to D here, dining table and dining table alone. If I isolate that, you don't have anything jars for chairs and a table. But before to anything, let me go to accessories. I added the little bit of carpeting here. I forgot to add that here in the cancer. And I just add it to the model. And let me tell you if you add a new part or new piece of the 3D model to the scene, remember, just keep the material arrangement and time management the same, or material management, not the tiles. And if you're keeping them the same as before adding the model, it's not going to be a problem and it's going to sit right in the middle of the sea, a scene without any problem. So as you can see, I have tied 1062 or carpet. Let me switch to if three. Here. As you can see, all of the accessories are here. Just the new carpet they added after D or is it D dining table, one of 106111062 here. And assign the accessories material to the carpet as well. And just go to Project configuration after that and replace your model. Keep the import camera and everything will be the same. All right. Go to F2. Let me go to a dining table and start making some materials. But before that, let me copy D O T H is a lytic copied that edge is all, as you may remember, height 0 and subsurface scattering 0. And if I add the unsupported shader opacity pass, it's going to be one or o pitch. Alright, let's go and start with one of the chairs. First of all, let me go and add four folders. Guess that's enough. Or maybe that's enough. Alright. The first would be table and chair space. Copy. One, paste 0203. And what more fond therefore? Four. Alright. Let's give them a color. Let's just start with a chain and height of deci. Let me go to mask. This one would be ditch table. Exclude. Let's start with here. One. Skirt on. Exclude. Again, 234. Alright. Alright, so we need to make a letter height. So let's start with D levitt height. Just add a fill layer. And I don't know what that calls, maybe base. Alright, Just kidding. Alright. I'll click on the height at minimum of positive height and black mask and feel. Alright, let's see what we have here inside the textures. A cell would be nice. Let's try maybe set one for now. And say, well, there's no there's this tile at it. Why we don't see the results. Here. Let's go to sell. And I guess my UV arrangement is good. I just hide the seams behind the seats so that should be okay. Let's add maybe ten times, 20 times. And invert. Or maybe add a little bit of contrast. Maybe less height. And I guess that's really good. Let's see. Yeah, that might work. And let's add a little bit of a variation to this new height by adding another layer and call that var as a black mask and a fill layer. And let me find a texture to add to this fall there to act as rushed area of the CEJ. Maybe this one. Let me disable the previous one and just keep the height at negative height. Enable them both. And maybe if I add this fun. Yeah. And subtract dad's. See the result. That's good. But we don't have control over this darker areas here. So let's not do that. Drag and drop that back to the van layer and go to height channel. Just replaced the height. And maybe go to grunge, make it less. Alright, that's good. And a little bit less heights negative. And maybe add a filter of bluer. Simple blur. And maybe 0.1 or 0.20.20.11. Alright, It's good. Switch to highlight here. Alright, that's acceptable. And yeah, I guess that's it. A little bit of stitching. Here. We go to a UV view. And which Chevy working on. Here. I guess we can add some stitch around these two parts. Alright, now, let's keep it into the view. Add another layer. Or maybe it's easier to hit Control D, duplicate the previous layer, and stitch. Delete the inputs. And let's see what we have here inside the Alphas. We have some stitches. Maybe maybe is one, is the one, or maybe. Alright, now let's add a pain to the layer. We have in VR, indeed, positive or white. So if I paint, I'm going to add. And also we have control over D, height value and a positive height. Go back to paint as you can see here. Alright, let's go and add more high. To see more. Yeah, That's alright. Now let's go and select one of these ditches. Not this one. Make it more popped out. And I believe we need to go up alignment in UV and sizes Space Texture. Viewport may be texture is better. And also we have a spacing. Where is it here? Make it less. And Gent were no learner. It's not good. Yeah. All right. Let's click here and hold Shift, click here. Hold Shift again, click here, Shift-click, Shift-click, Shift-click, Shift-click gets really messy. So see that in 2D view. Oh, that's nothing mood at all. So it's gone through z. Change the texture size to uptake and tangent of AARP. Maybe, maybe via port. Alright, let me switch to another stitch. Yeah, it's much better. School and had some stitches. Alright. Let's make them less obvious. And the other sides combined to paint and all debated, but also around here. Don't vari, we only need to do this lungs because the chairs are copy and they are shared the same UV arrangements. And we just need to copy and paste it Material. And of course we can always go back and make it more perfect. Let me go. Make some stitches around the ear as well. Also maybe down here. Making it imperfect intentionally is you can always click hold, shift and make it more straight. Just like that. That's up to you. Alright? And that's add a little bit of character to chair. Maybe. Adding some stitches to the bag is not a bad idea, but let's add another paint layer and set that to Max. To combine them, both. Dutch, multiply. Let's set that to multiply. I added a fill layer, so let's go and add a paint layer and you don't need to change the setting no more. Almost there. Nice. Now we have some stitches that can use to add a different material or different color to them. So the only thing you need to do is go, let me change that to t. Cheers. At a anchor point is to just mask the anchor point and mask or variation mask and anchor point base mask. Right now we have our heights created and ready to go. In the next video, I'm going to add some color to them and use some of these stitches to make different materials. So see you in next part. 24. Chair Color and Roughness: Welcome back. And let's add some color to the chair. Believe this part is bumped out, part is white. Also this middle part, this two-part is red. And sit is read as well. Then on just added the maybe feets to add more character to do. So, we have a plastic here, letter here, and metal here also some screws. The back and the screws are having the same texture. So let's go to height at that black mask. Let me add white mask. And it's going to feel mitch feel and exclude. Switch to black. Exclude this parts. Some metallic parts. All right, We are good to go, I guess. Alright, now, let's go ahead and make another folder named add color and school at the field layer. Because it red. Another and all that. White. Alright, let's go and make some. First of all, let me capture the color from KMS service, something like this, maybe a little bit for it. Alright? And white color is almost white. Here. Select the red and black mask mesh field. But this time you chunk because as you might remember, I just cut the, cut the UVs right here. Two is your insight substance painter for selection. So select the red areas. All right. And this part, let me go to orthographic view and select by polygon. I forgot to cut this part in UV, so let's go and find it. Maybe I didn't forgot. Here. Here. We can select it more accurately. So let's go and select here. And also Zoom and bring back some of this areas. Just like that. Let's go back to the view. See there is Zhong. And switch back to my selection here and make it black. Select the parts that just accidentally selected. And also switch to face again. In bank this areas as well. Let me double-check. Yeah, That's good. Insight color. Let me see. Let's add color to black mask and black mask off the seat and the back support. Right. That's good. Yeah. Also, let's drop the light and put it behind the black. Just kept the color inside the red. Why we don't have any pattern here? Let's see. Because I didn't add this part to lead. Right? Alright. Now, let's bring back colors. Be a little bit of exaggeration for now. So let's go and add another color. Stitches. Sure, what color our day. But now let's add our layer. Stitches, just skipped the color. And for masking, Let's add a black mask and a PHY layer. Gray scale, anchor point and stitches. Right now as you can see, we have different color. Stitches. Go to mask for the layer and change the level to have more control over the stitches. Right? That's good. Bit of distortion down here. Inside D. Read this, remove this way says, and add these spaces as well. Also here. Alright, That's good. Now let's go and on top of the red, add another fill layer, just color and maybe call that there for now. Let's see what happens. So add a black mask and a fill layer, and inside anchor points, Let's go and find the base mask. Alright, as you can see here, we need to invert the base here. Alright, now, switch back to base color channel. Set it to multiply, and we have some dark areas here. Alright, let's go to slide and make it less white. And inside D. It's throughout the opacity a little bit. Or maybe let's go and change the color. Like so. Alright, now, let's add another desert. Let's call that there are two for now. And maybe let's find a rainy brown. It teams switch to mask feel anchor point this time. Variation anchor point. Now we targeting this part's not multiply normal. And you can see inside D, a letter, maybe make it a little bit lighter, like so. And drop the opacity. We have a white area here, so let's go back to it. Make a threat. And it's good. It's good to stitches. Maybe make them darker. Alright, let's go back to white. Enable the roughness. Make it an emitter off. Go to read a little bit rough. Stitches. Almost 100 RAF desert enable the roughness under a raphe. And there too as well. Make it green or off. Let's check our roughness pass. That's acceptable. Respect to material mode. Right? Good. Now let's go inside the height and variation. Let's believe it's grunge. And it's can see we have enough control over the look of the chair based on this input. Find another one. Go to textures. Maybe. Here. Make some discoloration. Yeah, that's cool. But not what I want. What about this one? Yeah. No. Not that one either. Maybe this is the one. Alright. And here after blue or before blue at a grant, let's add a paint and switch to paint or hit one on your keyboard, hit X. But as you can see, we have a brush selected, so it's got two brushes. Select different barrage such as maybe something like this. And switch to whites. And change the blending mode, subtract, maybe make it smaller, and paint in this white area. Maybe here. If you want more of this effect is discoloration. Add another pains, and just paint whatever you want. Let's make it less obvious. Alright, that's good. I guess didn't roughness is good as well. It's gone. Pay the bank site. And let me find the camera perspective. Hit F to frame. Yeah, It's good. Let's go on top of the color. Maybe outside of the app folder. Let's add a, a old dirt three layer. Just keep the color and roughness, make it really rough. And multiply and the color side. Alright, let's go and add a black mask and generator and also a collision. Hold Alt click on Mask. Level, maybe are not. In the F. Open up the Occlusion Editor. And the white area is the area that we're going to effect. Let's make the color a bit darker. Go back to a mental collusion. And yeah, just like that throughout the opacity a little bit. Alright. Now let's go and create a folder below the dirt and call that Mittal. Make a black mask, polygon mesh feel. Just select this metallic parts. Also the screws, let me switch to mask. Alright. They are aluminum, so let's go back to the materials and throughout the aluminum here. Or maybe make it above the dirt. Alright, that's good. Let's add a filter and being met Here. Let's grainy. Alright, let's break the roughness. So let's add a fill layer. Just enable the roughness. Make it a little bit or RAF. And a black mask and a fill layer. Go to textures, find a texture. It's like maybe this one. Let me switch to the roughness. We have some visible seams, so let's go up, try planar projection. Three times. Repeat, and switch back to material mode. And yeah, it's not good. C2, something like this. Maybe. That's more legged. Alright, Good. Let's go and add a plastic on top and make it black mask. Select this bits. Let's make that black just like that. Alright, to add subs, subsurface to the area, but let's copy and paste the color to the other chairs, then decide the the subsurface scattering. So let's continue in the next video. See you in next part. 25. Continue Working on Chairs: Alright, so let's copy the Mediterranean to the other chase. Isolate and just select the whole thing. C. And Control V. Alright? Select the height layer and clear the mask. Which one is D? Second chair. This one, alright. To highlight and select a color here. And here. Alright. Red would be with the UV chunk here and here. Also. The bottom part. Let's go to three. Each one of which one you're working on here. Go and UV, Face Selection. Select. All the way here. Switch back to two. Alright, now, see the height, I guess. Yeah, I selected this parts extensively. Exclude them all. Hit X and included this one. Alright, it's teachers school. And let me change the name of the anchor points based 02 and a mask z2 and stitch mask z2 as well. Let's go to the teachers field and select D stitches mask, CO2. And we need to paint that again, I guess. Or maybe that's easier to just texture one chain and pass that to other chairs. I need to delete the chairs. Let me see which one is more practical. And let's go to variation at the random seed. And no paint for now. Let's go and select the paints. Teaches and which one we use, maybe this one. Alright. And paint that painted layer, a pain stitch. This time it did shift. Enabled. Make it faster. Hey, down. Alright, now, it's cool. And inside the color, stitches are working again. Yeah. And it dealt value to minus there the base masks. So we need to switch to pace to write and a or Dirt is Good. Little bit too much. So make it less. And the roughness. Let's go to colors. Yeah, it's good. Let's switch to roughness channel. And the stitches. White areas. Switch back to metro area. Let's compare the results. We need to change some values that are as sierra to here. Go back to 0 too. And it pains. Make it subtract and switch to a different brush. Let me see, maybe one. Because smaller. And did it decrease skin value? Make it white. And. Let's paint some of this starts out. Alright. Let's copy. Halting the chair. Three. And let's go to the height. Clear the mask. This area only sold at a black mask. All right, just this two to the height. Let me find. Alright, let's go to the mask and change the names. First. Variation, three or three stitches also. Did the paint. Changed in named three? And inside color there to mask three. There it is, base or is it three? And write a response to UV chunk emitter league part here and here and here. Also this screws color. We need to set that here and here. Great to read. Go to UV. Here. Select by face, right? It's de-select first. Acidic dead again. Make to 3D view. Alright, that's good. I'm going to indeed cleanup PD own. So don't worry, it's good to UV view and see where's the problem. All right, Good to the view and start again. Because I'm sure. Let's select this with positive, this tube and UVs and negative. Here. Here. It's much better. I guess. Course it needs to have some cleanup, so it's good for now. Rotate the light. Let's go to 2 third 1. There are good to go. The current mask are selected and it's good to Grant at another paint, especially to paint, brush, subtract, and paint that out. And it's see here inside the desert. One. We need to have in a little bit of interpolations going on. Maybe invert that, you need to invert that and make it less obvious. I guess also in d is chair two as well. So let's go back to chair two and color. There's one in there as well. Yeah. There was a problem. Alright, let's go to chair two feet. Clear the mask. So each polygon feel and mesh feel. Chair to is this one. And just select defeats. Also in chair three, clear mask and select fits. And this one to metallic as well. Also in chair to clear mask. Go back to paint. Paint out this back part. Seville as that shape too. Alright, let's close them all. Now in the next video, we're going to make some material for the table. And after that, we're doing d, another chair or chair for. So I see you in next video. 26. Making Material for Dining Table: Welcome back. Let's add material to the table. So table is a simple plastic. And yeah, I guess that's about it. So first of all, let's go and bottle the material folder. Copy and paste that to the paste layers. Paste it. Table, clear the mask. Polygon mesh field, and let's select D Met Sally areas. Alright. Also this one. Alright, That's good. Now let's add a, well the account top and fill layers. Often. White and alright. Alright. Let's keep all the channels and site. Why it make it almost white and inside the red meat captured the red color from Cheers. Alright, at a black mask to add a fill layer. Then it's a little bit of a pattern going on here. So let's go inside our texture assets and find something similar. Right? Let's see what we have here. You don't have that much option. Maybe let's try a generator here. Dragon through rapids. This. And let's add a layer mask to the top layer and select the top. Let's go to read and Title Generator. Go to pattern. Scale tiling. Upsets. Maybe. Let's make it a little bit bigger. By reducing the repeats. Maybe eight times. And global offset. It's not good. Alright, let's delete that. Let's go to orthographic view, top view. And let's add the paint to all firms. First of all, paints and phos here. And select a circular Alpha check-in throughout Alpha and make it a little bit hard. Like so. And see tangent up, eject your port. That's not the hardness. Yeah. This is the hardness. Alright, that's good. Make it white. Let me see what else. No size per share. And flow 100. Let's make it bigger. And so Engines, object, viewport and you may find a better solution. I meant to the camera or to the UV. Today. Uv F3. Find the table. Where is it here? Alright, this is much easier. Let me go from, Let's use a mirror and fill layer instance. So let's add a fill layer and maybe drag and drop this. Alright, let's go up. No-repeat. As find it. Here. She or shift only. Make it smaller. Maybe put it here and I guess, yeah, maybe here. And let's see if mirror works. So let's go to filters and mirror. Mirror. Let me see why. Meters center, I guess that's not going to work. So let's go and hit Control D. Duplicate this shape. And you have some issues here. Put it in max, and it's going to be good. Change the position, something like this. Alright. Now let's, it's controlled. Both of them. Change this one to Max and shift drag it. So this one, Shift drag, one more time. Shift, drag, shift their rank. One more time. Let's go back to F2. And perspective needs a little bit of height. So let's create a height just high channel and black mask the layer. It's good to. Shares and a guess, a BMW, it's going to work just fine. And it will have positive net bad. And also add a roughness channel only. Hidden layer and layer mask. Also a fill layer. Inside this height. It's called that bumped enable the roughness. This disable. All the channels in is to color. Let's go back and sit inside the roughness we layer. Let's add a texture for imperfection. Something like maybe this. It's cool, roughness. Make it shiny. Alright, let me rotate the light. And let me switch D input value to something. Maybe like this. Alright, That's good. Let's check D roughness channel. Alright. We need to have a base or roughness. So school. Down before pump. Roughness space. Keep the roughness and make it a little bit rough. Switch back to material. Now we can see the imperfection more clearly. On site to bump, Let's add more glossiness and textures. Grunge the BMW maybe three times. Let me switch to different light. A scenario here. Alright, now let's go to our roughness. And maybe inside D, grunge, something like this. Rough piece. Maybe a bit less raft. All right, around here. Now, let's create a lusty or just go to base materials and plastic pill or make it black. And the black mask. Layer, mesh and select D fits. Alright, now, SKU chairs, I forgot to add the back parts to the red. So let's make them red. Go to other chairs as well. And share three color, red. Let's share. I guess. I did a really bad mistake. Let's go back. I was in it, D was in a mesh fields. So let's switch to give a chunk and just select it back apart. Now also really guess, I forget to add stitches to this chair. But let's not do that for now. And we're going to add that in cleanup video. Alright, now, let's copy and paste. Share material. Copy, paste into chair for alright. Let's go here to the base. Changed it to or variation. Did it the paint, stitches and a clear the height and layer or a mask. Make selections. Select just these two parts. Clear the layer. Select just this. Took parts. Alright, and red. Here. Uv chunk, this one. This one. It's good to F and three or UV is fine. The other chair sneak this to UV chunks and reverse the color to the black and deselect. This parts. Alright? It x this part as well. Now, this one is not matching the order, so maybe here. Alright, now, let's add stitches. Indeed, cleanup heart needs to be base mosque and three. And dear to their mask, 034. Or, and this one is four. Base mask for. Alright, let's go back to that. The paint, subtract and switch to paint. Grab a brush and make that be something like this. Also lets go back to red. If you change it, take part as well. Alright. Good. See all of them to get her camera and tinge still lighting scenario. Right now. This is like almost the end of the chapter. Let me go to metallic parts, also. Clear mask. Select metallic parts as well. And the fits there. And get back to camera. Alright. Alright. You're finished with this chapter. In the next chapter, we're going to add some texture to the accessories, and it's a busy one. There's lot of small things going on here. And yeah, that's it. See you in next chapter. 27. Making Material for Pots: Hey guys, and welcome to the Chapter six. And in this chapter we're going to make materials for accessories. So let's see what we have here first. Maybe let me create another folder. And then EB. Let's see where we start. Maybe if it departs. So it's called that paths and exclude or include this and this. And that's it. This time I'm going to create folders on the fly. So it's seed. Inside concept. We can achieve this kind of effect with two types of metal. Maybe copper with aluminum. Let's attest that they for learning side and we added color to deep parts. Maybe name that aluminum. Go to base material and grab the aluminum base. Alright. And, and a black mask. First of all, at another folder. This folder inside change the name to methyl because we have a plastic side as well. Plus the parts here. And black mask to metal. Remove this mask here and select only two metallic parts. Alright. It's going to add a finish on top. Insight filters. Maybe a little bit rough hammering is going on this surface. Let me see what we have. Something like this. And add Morris K intensity of the flakes. And it's really nice. Alright, now it's gone above. Add another folder called Chapter. We have copper pure. We can use that. So I can throw up the copper. Maybe it's in reuse this finished Control D. And random seat to make it a little bit different. Alright, now let's go back to copper and select the copper folder, and let's add a black mask and add a paint. But this time, school and inside the brushes. A burn, physic, select debt. It's good down deeper ash and smoke. Guess. It's working but not that good. So as you can see, extreme burning effects going on. Let's drop some of these settings such as gravity, find it gravity. If he's there any no spread speed, right? Vector. And the life, their life. It's too much less life and less impressive. See if I find another physic. And I guess they are scattered all around, leaks. It's trite and leak. Maybe if throughout the life, particle life, gravity factor one. If getting minus one, or maybe I don't like that. Either. Burning is a better. Let's work with dad. And I change these settings. One more time. Parents spend spread. And RH factor life. Let's switch to a basic brush. City. Some brush like this, maybe burning effect. Just like so, does much better. And at the end of this mic pods, also, you have to reverse that. Anytime Let's go and add more. More here. Also in this one. Alright, and maybe make it a little bit to our care as well. Also, add a fill layer with color only. Multiply that. Create a black mask and paint. And let's paint. And only Let's go enabled the roughness as well. Make it did it through rough error here and less color. Let's opacity enable the aluminum. And that's not bad. Alright, let's go up, add another folder on top of the copper and aluminum. Call that a o. Just color. Just keep the color. Multiplayer color. And make it a little bit darker. Add a black mask and a generator and curvature. Emergency generator. Switch to mask only. And let's pick the edges by adding a fill layer. Multiply that by a BMW texture. Maybe at a below or to the curvature a little bit. Right. There you go. Just when needs to be a little bit darker and the collision sites, so let's call this curvature. And this time, this 10. Just color. And maybe roughness. Make the color a little bit darker. Multiplied as well. The leg mask generator and a ambient occlusion. Let's see the occlusion. And let me change the balance. Select debt. Alright, let's go back to copper and enable the height. Negative height, just maybe positive. Just a little bit. Alright, good. And into mass, Let's add a fill layer. Again. Multiply with another BMW. And some like this. Maybe no height and less B and you, alright, It's good. Let's go and add a folder count that stick a black mask and settings by Mish. Go to the mask and select just the handles. Let's go and add a fill layer. We did dark color. All right, and call that base. Add another folder, maybe eau de Color, little bit lighter, black mask and the layer, or maybe generator this time. Ambient occlusion. Let me see the ambient occlusion alone. And yeah. Something like this. Might be good. Let me change the color. It just needs to have a bomb. Just heights. Black and b and w. Let's go zoom, add more div. And it has some UV seams. So let's switch to try planner. Maybe six times or ten times. Less heights. Also in the a layer. Let's go and add a little bit of roughness. Base needs more roughness as well. Some that are on here. Right? I guess that's enough. Let's continue in the next video. And maybe make some material for this chicken timer. Alright. See you in next part. 28. Texturing the Canned Foods: Welcome back. Let's add some textures to these cans. Isolate date accessories. Let me zoom on them and add another folder called that. Um, maybe n. Alright. Let's switch to tie the masking x cubed all and include justice canned foods. All right, for this matter, we need to have some textures to project to the outer surface of cans. So I did some digging and find some textures out of Pinterest and Flickr. So let's grab all of them. Let me put that to the side. Switch to asset and direct them here. The window pops up the important resource. Let's go and select one of them, selected last which shift and change the Identifying to texture. And maybe a folder car can select your project accessories. Import. Alright, they all imported and filtered by dy resource imported keyboard. So let's look at the UVs. Find the cans. Maybe there's our deacons. So switch back to the view. Let's add a delete this key and scorn, add a aluminum to the folder. Is good. Let's finish on top, or maybe this time, let's add the finish to the aluminum pure and filter and find a d metal finish, something like this. This too much. So let's turn up the intensity a little bit. Yeah, something like this. Alright, that's good. And also let's drop the opacity lesson is by adding some roughness to the aluminum pure material. Something like this. Now, let's add a filter, it, sorry, the fill layer. And call that label one. Alright, now, let's just keep the color. I'll click on color. Add a black mass, then, Fill Layer. Now let's go to texture and grab one of the textures here. That gray scale, sorry. We need to have the black mask here. So let's remove the mask and grab and let go on the base color inputs. Alright, now, let's go and add a black mask and now switch to polygon feel mesh V and select one afternoon. Alright, It's schoolwork and this one alone. And maybe add roughness of one mental illness of 0. Alright, let's go to three or UV view. And no-repeat. It's going to put that here. So let's move it up. Hold shift and rotate it 90 degree hold Shift and shrink dads. And let's put it in place. Something like this. Alright, let's go to F2. And yeah, that's good. But it's inverted. So let me go to F1 to see both in 3D and 2D together. Hold, shift and rotate it. And it's move that around here. Alright, That's good. Switch back to F2. Maybe we need to make it a bit smaller on heights here. And as you may now, we can enable the height and add some height value to the labors, but we don't need to do that here in this scenario. Alright? Let me repeat that horizontally to add more coverage. Alright, that's better. Yeah, and it is better. So let's face that. The camera labeled, label the beans. Alright, now let me hit control D on the label and change the name to label 02 and grab another label. Clear the mask. Now. Now that we clear the mask, let me hit 112345678910, so disabled them. All right, let's go back to neighbor to maybe select this one. Go back to our texture. See if you select that. So school and move to gizmo to find, yeah, here, this is our cans, so let's prevent any error. Clear the mask. Just select the D UV chunk. Same for the previous. Can. Remove now clear mask with De Chang. Yeah, that's better. Let's move this a little bit. Something like this. Alright. Alright. Now let's switch to three slate. Maybe this one, maybe this tomato one, the color inputs. And let me find that. Zoom and change the position a little bit. Also the size. Alright. Go to label. Same snake, a UV chunk. Let's go back to color and it's inverted so it's rotated like. Also we can rotate that here. Alright, little bit of a scaling. Right to the next label. Maybe this one. Another Naval. Find it here. And six. This top one. Let me switch to this label. Maybe the limit of a scaling. And move. Next label. This two now, so let's add it here. Alright, now it's fine. The tuna can move and scale here. And eight. And that's fine this way. But at another level here needs to be rotated with holding shift. Good. And next nine. And select maybe this one. Which one we didn't use. Missy. Maybe Screen1, little bit of scaling, and we're good to go. Maybe ten. At this. Can we find a bidding, any use this one. So scrap here. I'm scaling and done. It's a lemon as well. We down to the repeat. So maybe even use this one. Let me see. Yeah, you may use that before. So this last two are repeated, so it's not a problem. You can rotate it to make it unique. Alright, now maybe at another one of these being cans. So the 121 would be this one. And it is a little bit of rotation, scaling and done. Alright, I look nice. On top of everything. Let's add a fill layer called a dirt. Just keep the color and roughness, make it a bit or offer right. Now, multiply the color. Just like dare. Black mask and generator of a collision. Let me switch to have to seat only. Today view. I'll click on Mask. Go to ambient ecologists setting and David of 20k. Alright. Now Control D, change that to curvature. And it's Gu to the ambient occlusion generator switch that to curvature. It's seated curvature. Inverted. Just like that. And at some global blue color, fill layer on top, make it multiply it Cj to medium and let's find a maybe the BMW spots. Yes, good. And tile it a couple of times, maybe. Maybe more. And make it less obvious. Alright, let's switch to camera. See on materials to get there. Yeah, those are nice. Looking good. And in the next video, let's go and add some materials, the dishes inside the sink and outside. Alright, see you next part. 29. Making Material for Dishes: Welcome back. Let's go and add some materials. D, dishes, mug, and let's go. And first of all, distinct color, a different color at a folder called dish and a different color. Let's go to exclude on and select maybe this. And here, I guess that's all. There is no dish left, so it's coincide the dishes. Andy Miller called. Let me see. Maybe cabinet dishes. And another folder called table and exclude. Let's, let's ask a dessert cookie jar to death for that as well. And here the table dishes. Also the spoon knife and all of that. Alright. It's good for Cabinet once. And what we have here is some kind of a ceramic in Luke, white area in a surface of a green area or green strips. And inside is a little bit darker. So let's go and add that with a fill layer inside cabinets. Maybe name that base. And let me see the UVs. So here we have outside and inside here. Alright, let's go here to the 2D view. A potato or a light, maybe. Mix it with yellow. Yeah, that's good. And less roughness. Alright, It's good. Now, hit Control D card debt in sight. And let's add a layer, mask, UV chunk, and are now, let's add a different color here. Alright, select inside D, bolds, also the marks. Alright. Let's see the result here. That's really good. And the ingredients trips, school and add a, another, or maybe duplicate this one. Alright, it Control D and greened strips the mask. And let's go in and select the polygon fee. Alright. Ch2, orthographic, meal and luck D view by holding Shift. Alright. Let me switch to O. Let's change the color. Let me capture from the concept something like this. And let's test that by selecting this area. Here. And find the pole. Something like this. That data, great, So that's good too. 3d view, UV view, sorry. Find the green areas. Oh, those are separated so it's better. So let's go and reverse all of that. Sushi UV Chang and it's tested, yeah, those are separated so we can select them. Alright, and D, guess these two are green fully. So let's make them green. Add all of the UVs to green, something like this. And SH2 polygon. Select these areas. All right, it's not good enough. So Zoom and select here. I'm sneaking deep balls. So what do you put the Mach? Eight eggs and exclude this faces of each substance? Is it growing selection, lacking some basic functionalities? Let's switch back here and maybe tries selecting dead. Again. It's much better. Let's exclude ready mesh selection here and here. Let's go to A's and rotation. Maybe here and here. Alright, now, let's go and add a filter, mask. And a little bit of blue to get rid of the harsh edges or jagged edges. Here. And let me try adding another filter called sharpen. Make that a little bit sharper. More blurriness, and more sharp. Alright, now let's switch back to green UV chunk and bring back the inside of the bolt. So you can see this one clearly. So let's leave it at this cell. So I need to add this button parts batch. And let me add another blur. On top, inter blur. Yeah, something like this. So this part needs to be selected here. And mesh it polygon feel. Let me select this area and exclude. These two. Just include video. We chunk this parts. Maybe or not, That's not good at all. Let's go to camera view. And yeah, those are good. Needs to add a little bit of bombs, so it's quite good. Another filter called bomb Alt, click on Hide and like pass fail. Let's go ahead and find a maybe BMW. The degree of positive height. To break the surface and add maybe three times. Maybe too much as 0.02. Yeah. That's good. On top of every team we need to have a a or capital O or dirt. Alright, and edit black mask. Maybe generator, not paint. A generator and a collision. It's multiplied a color blending mode and maybe darken the color a little bit. Just keep the color. Go to a O Alt click on Mask. And it's changed some settings. And I guess that's good. You can make the dishes dirty by adding a fill layer is called the dirt. Keep the color and roughness. You get the rough. Multiply. Black mask fail. And let's find a color like this. Try planar projection. And maybe two or three times repeats. And you go, you have some dirt inside. And on the surface of the dishes. This is a u is same. So let's go back to Amanda collusion and change some settings. It's not dead goods. So let's add a fill layer instant. And finally, the intercalation for accessories here. Now let's add a level inverter. And we only need the white area to derive dirt or Global Ambient Occlusion dirt. Alright, This is much better. And here, let's exclude this dirt or maybe drop the opacity is too much, or maybe add a paint on top. Change the blending mode to subtract. Find a brush. Let me find a D here. D, D are looking brushes. And white color. Brush D array. Or hit X and bring back some of the dirt. Nice. And add more roughness to the dirt. Also, bring back the roughness of a or dirt. Add a bit of roughness to that. Alright, Those are good. Now let's just copy the base. Paste that inside and table. And let's see the table, table. Table, table, sorry. Exclude all again and include dishes. Alright, The base is sitting there based ceramic. And we need to have some flowers to paint here under. Alright. This add material to the table dishes in the next video. See you next part. 30. Continue Working on Dishes: Welcome back. Let's do the dishes here. But first of all, let me go and inside here. And if folder called less and let me go and add a black mask. It the polygon feel mesh fields. Select this glass table. So what do we find them yet? Select this one again. Add a color to that, and yeah, it be for now. Alright, And also another folder. Sorry. Then if I wanted to cold metal and a black mask, Let's find a spoon, fork and knives. Add them to this folder. All right. Let's go to a smart mask and find a Sunday like this, still dark aged, and then drag and drop it inside the metal folder. Alright, that's not bad, but I guess they're not scratches. Yeah, scratches. Bit too much. Let's delete these scratches. Let's go to the metal inside the basic pyramid. Switch that to congeal because we are working on OpenGL. Normal space and Eddie, lighter material, lighter color and native enough. Roughness here. Oh, no, I'm not happy with that. So let's delete a folder and base material, aluminum. The mid tones here. That's really nice. It's add some deserts or some imperfection in roughness channel. So let's add a fill layer called that roughness. Just cubed or roughness Alt click and black mask layer. And let's find a folder. Or maybe let me see the, for example, taking this value, yeah, I guess thickness, it's going to work perfectly. So selective field inside the mask and look for thickness. Thickness, accessory. Alright, switch back to Material. Let's go and edit color for now to see the thickness effect. So let's go and add a lemon on top of the thickness. Invert that. And it's change D and L are pulling the handles to target the specific location. Alright. Disabled the color, add a fill layer and changed it to max. Let me switch to mask view and let's add a texture to the fill layer. So maybe something like fingerprinting. Maybe this is sand, this is something like this dragon syrup pit inside D, grayscale value. And play with the settings. No, that's not good. Something, maybe. Something like this one. Alright, Not too bad for now. Just dropped the aluminum pure glossiness a little bit. Here. Alright, close the metal. We have glass metal and let's make some texture for the actual dishes. The base color is little bit different than cabinet dishes. So then capture that color. I can maybe. Alright, and add another base color, balls at a black mask. And let's select the bones. And let me capture some color. Only v. So let's go to somewhere around. Yeah, I guess. Alright. Also marks here. Let me select this part as Andy handle of the max. Find, duplicate and Margaret and clear the mask. Me switch to rank and select the handles. Alright, insight. Dramatically, c, add a filter. And if it's too sharp, so school and so they slip. Work correctly. Let me see what else we have here. Blur direction now. Drop shadow. Not that good. Maybe I need to paint a little bit around the edges. So it's a paint on maybe let me switch to this view. And it's polygon field. Select these polygons here and here, and all the way down. Little bit random. Exclude this dish. Let me add a blur now. 0 to one. Let's see if it's any better. More Divide. And in other fields run up lower, less. I don't like that either. Alright. Let's delete him out. Exclude the UV chunk. Let me see UV shine here and here. I'm going to add a bit of paint if it's necessary in the video. Then we check all of the missions and exclude this dish as well. And go and add another base. Dissenter. Here. Clear the mask. This dish only capturing color, something like this. Maybe a little bit darker. Sit. And here, That's good. Now on top of F rating, or maybe the only dishes that has lover it, this dish, so it's growing on top of the base. Add another layer. And lovers 01, just keep the color inside this area. Exclude this dish. Now, lover, you see edit black mask included just this dish. And I prepared some painted flowers with watercolors. So I guess this one is stupid. Bitter. So same as before, dragon troponin site shelf texture in this project and import PNG so it has no background. Drag and drop here. Let me switch to F1, C to the n to the view. No-repeat. Drag and drop periods. Scale with shaved. And let's find our dish here inside this side. Here, desert dish. Throughout the scale a little bit. Alright, sitting nicely. Let's make it center. Maybe. Then if it's bigger. And it's Control D forever to clear the mask. Select this dish. Tasty mask. Yeah. Alright, now let's move to flower here. Send her that out. Alright, now d, lower three layer mask. Select this dish, dish here. All right. Let me rotate that and center it out. One more time. For their mask. And select this dish. Move to fill our up. And there you go. Now the mark, so it's cool. Here. Hit Control D. Copy one of the dishes, flower, flower, mag, one. Clear mask, and select this one. Let me find another texture. Maybe here, maybe here, this one, drag and drop it here is texture and this project switch the inputs. We find our mug and move around to find the best place. Scale, downward shift. Alright. Or maybe let me switch to camera view. Maybe put it in this location. Yeah. Something like this. And the other Mac control D and MarkovZero to clear mask. Select this mug and one off this UV islands. So let's move that around. Let me make it a little bit bigger here. Alright, so let's hit Control Z to make that back to the original scale. And here. Alright, so HD camera view and F2 rotate the light here and it sits there are nicely, alright, little bit of this olive color and the edge of the mikes. So let's go back to mug, this color. Go to mask, and maybe you didn't know folder and call that mark. Drag and drop this one in sight. Black mask. Just select these two mikes. Switch to two graphic view and polygon selection select here. Or maybe hit Control D, clear the mask because we need to add a little bit of blue. And Mike, let me change that name. Nike edge. At that edge. Alright. And the other one, where is it here? And add a filter. Blur and less blur. Alright, now it's good, but it's good to texture settings. I forgot to add opacity here. And created a layer. Drag and drop it at the bottom and base. The height. And a subsurface scattering and opacity. So just keep the porosity and scattering at 0, scattering 0 opacity one. Write Cj to perspective and our camera. Let's bring back everything else. Yeah. Or the next part, Let's go maybe add some texture to this kitchen timer or chicken timer and other stuff. So see you in next part. 31. Finishing up the Dishes: Welcome back. Let's continue adding some textures D dishes. And as you may remember, we have the glass. So let's go and close up rating and open up the color layer. So we have opacity. So let's keep the opacity and change the name of this. The layer opacity. Make the opacity almost at 0. Let's check our opacity channel. And that's might be good for now. So let's go and add another fill layer that maybe delta roughness, maybe roughness. Alright, just keep the opacity and add a black mask and fill layer. And let's go maybe find a texture. Something like let me see Sunday like maybe this one or something like this. Drag and drop. And the opacity is almost at one or opaque and it's going to be non-classical. So let's go change the crunch prediction type to trade planner. And maybe three times or maybe even more, six times, even more. Alright, doing is good. And that's it. You don't need to do anything else. Let's switch to a roughness and make that a little bit rough. Like so. And enable the roughness for less opacity and make it glossy, less roughness. Alright, hit em. And also we have a cookie jar up here. Let's go to dance. And great, another folder. Cookie jar, black mask with the mesh selection. Select. This measures. We need to drag and drop it outside of D. I'm table dishes. Alright, let's copy the base. Strong nicotine. Put it in here. Alright, and let's add a red color. Just skip the color black mask, and let's use UV chunk. This two or three UV chunks. Let me capture the color from concepts. Make it a little bit more of red. Alright, and let's go, and let's try something new. So let's go to Mask and add a fill here. Alright. And make it 100. Oh, you need to exclude this part. Why this thing not working out the fill layer needs to be Musk different this, so let's go back to color and maybe add another layer or just duplicate the base called debts, flower and a black mask, a fill layer. Now let's find our flowers. Maybe here, this one. And drop it here. And it's down here, it's going to convert to grayscale value automatically. So let's go and none, no repeat and switch to F1. Where is the cookie jar here? Alright. Let me grab our gizmo and make it smaller, which shift? Again and again. And let me move that over here. All right, that's looking pretty nice. And it's, it's a terrible, really, really perfectly. Alright. Now let's go and add another fill layer as always, a or 0 or just keep the color and roughness, make it trough. Color needs to be switched to multiply blending mode and black mask fill layer, find the ambient occlusion baked. For the accessories. And visit level. Let's switch to mask of view and just change some of the options or leave it. Handles. Write, something like this. And also add another layer on top or filler inside the mask and maybe make it subtract. Let's test it. Find a texture to put inside the gray scale value input, something like this. And make it projection try planner. Maybe three times. Maybe multiply and drop the opacity here. And add more opacity, something like this. Alright, let's good. Dishes are done, I guess. Chickens sites here. Alright, now let's copy this. A or dirt up the cookie jar and open up the tape bill. And maybe f there. Mark flowers, add a or dirt. Switch to to, to, to view. Let me enable and disable it and make the color a little bit darker. Alright, something like this. Alright, d dishes are done. And so see you in next part. 32. Working on the Chicken Timer: Let's go and add some texture and make some texture for D timers. So close up the dishes, create another folder, black men, black mask. And filter by tied, right? Give it a color here. And call that time. Alright, Inside the timer we have, let me find it timer. Up close. We have two different colors. So create three folders, put them inside. And yellow and maybe ceramic. So and also black for the eyes and white for the markings. Those are neat. Doesn't need to have a separate folder. So Musk, the red part here with D selection here and here. The black mask or the yellow part. Need to select the face. Here. Yeah, I guess that's good enough. And ceramic parts pledge mask and select the whole part. And the interrupt is ceramic. Put it between the yellow and red. Alright, Now, guess for the yellow part. Can switch to UV chunk or nods. Alright. And also add another field layer on top of that ice. Black mask and select D ice. Alright, let's go and maybe drag and drop the ceramic here. Or maybe delete the ceramic. And I guess I have the base ceramic in the clipboard. So let's hit Control V. Now, dirt a row. So let's go back to even maybe cookie jar and copy data entry. I can drop it outside of the red. So we have ceramic base everywhere. And also, let me find a bump here. Throat C, paste above the base ceramic captured the color. Something like this, a little bit of yellow. And it's good. Let's go and add a fill layer to the red. Just keep the color and switch to your right color. Alright, yellow. Duplicate the layer. And call that ACE, or maybe color. Also this one. Color, right? T and d. The ice, we have the base color steel, so let's switch to a black color. Yeah. It's nice. And yellow color is something yellow, orange-ish here. And let me go to yellow mask. And if filter, filter off a slope, more divider, little bit more intensity to make it look like. Paint it. Alright. Also for the eyes. If filter, blur, gaussian and more intensity, that's not working. Maybe a 100. Not that important. So let's keep it, Debbie. Alright, let's go back to color red. And here, let me test a TRE. So let's go and add a fill layer, maybe. Dots. Just keep the color, make it white, almost. Black mask paint. I believe we a radio inside D, radial symmetry. Let me see, switch to Rajesh, but let's add the paint into the dots mask. Here. Clear the alpha. Maybe look for something circular. Good, and it will go here and find a circular brush. Put it in alpha, almost one hardness. Make the brush smaller. And let's go and find the radial symmetry setting. I'm not sure the radial symmetry, it's really suitable because you don't have local axis. Let's disable the mirror and also paint. And they fill layer maybe. And drag and drop this alpha here. And let's go to the F1 two and 3D at the same time. Alright, repeat only horizontally that, and where is it here? Put it here, make it smaller. And here. This is not bad. But the spacing, it's nuts, right? So let me figure it out. I believe we don't have any option for spacing. Alright, so let's switch to maybe this shape offset. That's, that's good. They make it a little bit harder. And maybe put it here, I guess. It could be gear somewhere around year here are solely just repeating and this UV chunk only. So let me switch to try Planner. Planner. We lost it. So maybe it's better to keep that in UV protection and duplicate it. Move that up in here. Now we have it around. Here. We need to copy it one more time. And we switch to move that around. Alright, Now we have some dots. Now let's duplicate the dots. I'll dig new layer number or maybe number 0. Right? Now, switch the grit scale offset to raise it d, one of the text. So what was that called? Dtype. A guess. Not the PDB build. Textures. Find it, type. Alright, font, something like maybe this one. Drag and drop. Alright, Where is it? Here? Let me type as 0. And where is it? D, no, repeat. And it's in France. So let me grab and put it here. Make it really bigger. Change the font size. But it's here. Alright, and change the type to bolt. Alright, good. D. And number ten. And let's go and put it here. Where is it here? Most dispossession. Type. Ten, it's inverted. So the Tate debt, 1AD, maybe it's still, it's here inside the same UV shell here. And also tend to end. This might be grew up, move it up here. 0 in rotation and turn around. Alright. Maybe this ten needs to be here. Alright, Good. Switch to F2 for 2D view. And let's go up here. Add a layer called a or maybe just copy the row. Let me see what we have here. A wood there are there to resist it. Bulky jar, a, Control C, Control V. And let's see what we have here. Color multiply. No, I don't like that. So it's get eight feet layer called the earth. And multiply the current layer. Add a little bit more roughness. Black mask, fill layer. In here. Let me check D into collusion, thickness and sit. Let's continue working on this dirt in the next video. See you in next part. 33. Finishing up the Chicken Timer: Welcome back. Let's add some chicken timer. D t kindness accessories, thickness. And the level. Up here. I'll click on the mask. Invert that. And let's play with the sliders. Something like this. At a, the layer. Name it, go and find the texture. Something like maybe this projection. Try planner, maybe six times, maybe three times. Alright? Multiplied it. Maybe less, repeat two times, less opus it and see the result. In not too bad. Duplicate this layer called that curvature. And clear the mask. And the generator of curvature. See the mask here. Oh, that's not good. So let's add field instead and look for curvature. Accessories, curvature level, something like this. And a filter to make it a little bit blurry here. Oh, yeah, something like this. And a fill layer of multiply, something like this. Alright, that's good except dirty around here. So let's add another layer. Call that gradient gray D. Alright. And a black mask Fill Layer. Now look for gradient, maybe linear one. And try planner prediction. Balance that to be something like stoop. Mask here. Rotate to gradient, one AD. Change the balance. Nuts rotate. So let's keep it that way. Alright, let's go add another paint. We switch to a different brush here. Pain too serious. A bit. Alright. Multiple lighter color. A bit more often, less and less opacity. Yeah, something like this. Maybe switch back to paint and paint a little bit more up here. And fill layer on top, multiply the fill layer and add it. Something like Cloud one. Try planar prediction. Tie lit couple of times. Alright, sounds like this. Anytime debt more and put it in, subtract. Alright, That's good. Also maybe a bit less opacity. Now we have our chicken. And sitting. Now that I look at the parts, I believe we have, we need to have some scratches as well. So it's going to paths and inside the metal part here, let's add a field here. And color only. Make it to arc. That. Scratch. Scratches. Alright, now let's go and add a black mask. A fill layer. I believe we had a scratch generator, yeah. Just like the Substance Designer and grab one of these scratches, drag and drop it here. And it's can see we have some scratches. And let me add more Scratch, scratch tiling. Scratch folder or 0 here. And copper, we need to borrow deep paint from copper. So let's see to Control C, Control V. And maybe make it to be in Max Linear Dodge, or maybe normal, but below the scratches and set the scratches too. Or is it D mean. Alright, so we have some scratches in this area only school and add more scratches. And scratch it with less stash. Something like this. Alright, that's good. It's good to scratch material and make it a little bit lighter. And also, you need to have negative height, elite EBIT minus 000, maybe three here, something like this. And maybe let's go to scratch generator and tie that three times. Alright, net debt bad, maybe throughout the balance a little bit. Yeah, it's good. And also in the Chan's School and above the aluminium pure, add a layer called that. And bottoms. Just color. Make it something like There's a black mask selection with the UV chunk. Select this top and bottoms. Let's switch to F3 and find them here. You can select it like so. All right, let's switch to camera. And being everything back. We are almost done. Little bit of a picture frames, a Clark and some spatula. And I forget to add this and include that here. So we're going to add that in some other videos. And yeah, that's it. Let's continue in the next video. See you. 34. Picture Frame Material: Alright, looking good. So let's go. And in this part, let me see which one. We have enough napkin typeof teaching here. And a carpet here. Jars, a spatula and the holder, one job here, and two paintings and a wall clock. So let's go and create a folder for the paintings. Let's call them painting. Alright. And give it a color here. And let's go to tight selection. And select this three tiles. Two tiles starting inside this painting. Let's create a frame. Title debt by masking. Let me check here, select that and create another folder for action paint. This is paint, so let's change that to frame this one. Paint. Alright. Here, exclude on here paint. Alright, let's go to paint and city UV arrangements and we'd find them gears here. Just a frames. And the UV islands, I guess they are they all are in the air. Vertical polarization and guess that's correct. So let's go back to F2 or to review. And inside the frame, Let's add a fill layer cone that height. Let's create a high channel only with positive edit, black mask, and fill layer follow. And let's go to textures. And let's see. Let me go here. Yeah, here. Let's create a really nice wood texture pattern knitting. So find maybe this vote, drag-and-drop. Alright, they are in the same direction, so just need to be rotated 90 degree. And no nuts. And less hard. Maybe 15, the default value, it's good enough. So let's add little bit of tiling maybe two times. And yeah, that's good. Let's go back to the heights material and maybe 0.20.21 or 0 to E. That's the right element. And also after this would add another field layer. And let's find a really nice phi inside textures. That one That's barrage. So I guess we have here directionality, noise, drag and drop dead as well. And I think also needs to be rotated 90 degree. But let's duplicate the height. The height. Let's see. Define, let me call that fine and delete this one. Delete, define food from the height before. Let's go to Hide, add more fiber. Yep, that's good. Also. Let's go and create another folder. Put these two height and call that 01. And black mask. With Fill Layer Mesh selection, select just the outer frames here and here. Because this inner frames, it has a different texture. So that's that. Now let's go and maybe and anchor point here called maybe frame, height. And anchor point here. Graeme. Fine. Alright. Let's go and add a fill layer. Just color and even roughness, black mask, and a fill layer. Let's go and insecurity scale target the height frame. Now, let me capture it. Right? That's good. And a little bit drop off her dad. So SKU and duplicate that. It's one. Alert Z of one. Control D. Duplicate color 0 too. Change the target, target anchor point to fine. And maybe switch to something like alright, in color. One, Let's go and change the level. Maybe invert that to something like this. Alright, color to go and change that to something like this. But insight would V1 here. And it's changed the hardness to maybe, maybe a little bit nuts. Now, it's good. Rotate delight. It's good to top, inverted. Maybe. Give it a lighter color, just like so. Alright. Let's use a hue saturation filter. Only hue saturation and only a filter. And move that up here. It's going to create a painting of a layer, a placeholder. Click on the HSL, make it darker and more saturated, little bit more dark, right? And you have ability to change the hue as well. So maybe change that to something more brown. Let's go back to color one. And change that color as well. To something like this. To have more variation. Inside color to change D. Yeah. It's play with the settings. Alright, make this a little bit darker. Yellowish. Alright, that's good. Let's add a fill layer that a chip color and roughness make it a really rough. And change the blending mode to Multiply. Make it really darker, school, and add a black mask, fill layer follow and look for the interconversion of accessories. Art critic unmask at a lemon on top. And let's target this gaps. Alright. Now, switch back to a o and make it a little bit darker. Maybe. Grab this and put it on top. One. Alright, that's affecting this area as well now. So it's good. Maybe at a fill layer called curve curvature. Color, just keep the color and maybe make it add Linear Dodge and black mask. And through Z. And a black mask and fill layer. Look for curve, curvature of accessories. Followed by a level. Our colleague school and invert that now inverts. Let's make it three, it's high. And add a filter. Slope blur, more Divide, and more intensity. It's now see the result. You can maybe make it multiply event. You have more darkness around, right? It's good. And let's deal with this inner part as well. Get another folder, 02 and black mask. Switch to mask, select this part and this part only phi very texture to it. So let's add a layer called that. I just kept the height enough positive height. Go back to texts, chairs of all black mask field. And let me go back, go down, all the way down and find something. Maybe not down here. Let's use this one. Alright. Maybe project there, try planar projection. Let me add more height, see more clearly. So let's go back to directional noise and maybe make it six times or even ten times. Let's go back and reduce the height. Just like that. It's Control D to duplicate this noise and change the blending mode to max lighten. Go to the top fun and rotate that 90 degree. Alright, now we have something like this effect. It's good. Nice. Maybe needs to be tied a bit more, 15 times. Alright, that's good. Go back to height, maybe. Make that less. And negative, minus 00, maybe four. Alright, that's good. Add a color. Let me test another method. Anchor point here. Maybe let's call that inner part. Let's go to color. Just keep the color and the black mass fill layer and the inner parts. Alright, now let me color to that for now. And let's see if the gradient filter, it's working here. Choose Gradient. And it's going to, let me choose a different color. It's going to add different colors to different areas. Test and see if that working. I guess that's not working because we are in gray scale change plans. Let's get her off the mask. Add a filter directly to the bilayer, then select gradient and assign some colors to different gradient values and play with them. We don't have gradient. Let me see. What else we can do is add a fill layer here. And no, I guess we don't have any control over data. So will it be disabled this inhibit color. Here. Let me add filter color and add different colors and change the sliders. And now, like they're disabled the color, go back to our color here. So let me capture color from the concept. Just select that, make it a little bit lighter here. And let's copy the curvature layer C. Go to here, control V. Let me see there is art. Let me go to Level and change the level like so invert that may be even. And maybe change that to something yellowish. And Linear Dodge Add. Let's go back to level inverted. Alright, That's looking good. Let's needs to be a bit of tweaking. It's good. Let's go and create another layer on top. Maybe call that color to just keep the color black mask layer. And let's find a fine looking. Where is it D texture, maybe, something like this. Let's go back. Make it multiply. And around here. All right, that's looking good. Now we have our frames created for us. So the next part, we're going to add some painting insight. See you then. 35. Making Some Oil Paintings: Next, let's add some painting inside these frames. So open up the channels, open up the head. So let's add a fill layer inside the paint layer. And let's call that first of all MTD debt and divide this folder into. And it's called that left. And control, not control G to C and Control D. Call that. After I eat. Black mask and select mask, fall away, mesh select, right. Also, write one. Now let's add a fill layer inside car that paint. Just skip the color. For this matter, I find some chicken and the roster texture. I couldn't find exactly the same as concepts. Just grab these two. Drag-and-drop, change the type to texture and protect important. And let's add the rooster to the left. Grab drag and drop it here. No-repeat. Alright. Let's go to F3 or uvea just here. We have the painting here. Grab and put it here. Make it smaller and fit it in here. Yeah, that's looking good. Let's go back to S2. It's upside down, so 180 rotation. Looking good, but it's not painting yet. So it fun and maybe make it to be here. Let me move that. Yeah, and also a little bit. Alright, if T2. Now, in order to convert that to painting, we have a several options. You can add a paint effect and maybe smudge debt, but there's a better way. So let's go to liters. We have a filter called met ethics, oil paint and watercolor. Let me use some watercolor and see what happens. Drag and drop it. Go to Paint, opacity and paper. Maybe some borders or the density, I can see the difference. And E hadn't looked at. So let's delete that and use paint, oil. And it's going to process, and immediately we have some paintings going on. Really, really messy. So Let's go to the painting and we have some presets. Let's see, the preset that's fairs default is distinct, that you've seen. Stylized high or high details. This is good as well, and stylized low. Not good. And another one like that. Rounded brush. It's not good. Ie an abstract switch back to default. And throughout the intensity of the whole effect. Alright, we have little bit of control over normal here. All right, it's good. But it's lacking a brushes strike. It's a really big, so let's go to a strikes and make them smaller. Let's mess things up. So let's go back here and add a fill layer column that's mirage. Just keep the height EBIT of height positive, Black Mask afield. Let's go back and here called for brush stroke here. Drag and drop and break the connection. And now we have some nice brush effect. Go enable the roughness, rough that up. A little bit. Too much. Something like this. And also the paint. Sku and find your roughness here. Make it more trough. Alright, that's good. Let me rotate the light to see their fate. Yeah, it's good. And add a layer o. Keep the color and roughness. Make it almost rough. And multiply color. Make that really dark. Black mask field, gray scale car for ambient, ambient occlusion. And follow by 11 article, you can go to level that. We need to find the right place and expand that and refocus and make it tight. Field seraph, tourists look more, maybe 100 at more of that. Go back to level bigger just like that. And let's add a fill layer on top. Maybe subtract and find a maybe something like this. Now, let's go find something like this one. Yeah, that's looking good. Let's go back and see the result here. And that's the kin group. You've got to take back to a level and make it something like this. Alright, good. That's a painting right there. And it's almost here on roughness value. Alright, then let's copy all of this Control C and go to write v. Alright, and it's dark. Let's go to paint. We have a roster here. Let's switch that to what is our chicken, chicken, chicken Raju. Chicken, chicken, chicken here. Alright, interrupted chicken here. Let's go to three and move the chicken over here. And don't forget to disable the paint. It's going to process on the fly. So let's switch back to F2 and F1 and move the chicken like so. Alright, now enabled the effect F2. And as you can see, we have our chicken. So let's go to Alt. Click on the right. And not debt. I'll click on a little bit too much. So let's go back to level. Make it less. Alright, that's good. At, is almost perfect. Let me see all of them together. Yeah, that's really nice. Maybe a little bit more on the painting. That's good. Yeah, That's enough. Alright. In the next part you're going to add texture to these carpets and other chicken. So next video, Let's do that here in this video. So really quick, really fast. Let's go and create another folder called our pets. And mask by tiles. Here. Go back and let me go to Assets, grab a chicken and put that on texture and project accessories. Here we have debt. And let me make that David Peak air. Alright, now, add a color to it that's a different layer called the base. And just keep the height or base height. All right. And let's go and add black mass, followed by field at the data bit of positive. Alright, now, let me find a carpet. Maybe this one. Alright, let's use that drag-and-drop inside here and add more. I don't like that. Let's go find fiber or fabric. Maybe. This one again, I can drop it. In k3. We need to use try planner and 90 degree, and maybe 60. Alright, good. Now let's go and create another folder called base. Where is it? Let me grab my base. Color this time. Color, Roughness, Alt, click on Color and roughness, make it Raf. And inside color, we find the texture and captured a car layer, forum texture. Yeah, something like this. Maybe a little bit darker here. After that. Maybe call this layer chicken. Just keep the color. No-repeat. And where is the chicken? The name is correct. Let me switch to textures. Here. Drag and drop it here. Switch to Epsilon inverse, the carpet here. The last time. Move that up. Let me center that. Make kids to be look like this. Leaked out of edges to cover. This plays a little bit of back. And yeah, some like this. Let me look at this closely. Alright, that's good. Now, add another layer on top called a o. Just keep the color, multiply the color, and maybe roughness, make it read it off. Black, fill here and ambient occlusion. So CD collision and level up just like before. And let me derive the occlusion the next. So invert that. Alright, and another layer on top. Multiply that, go to textures, maybe look for something like Cloud to less balance, less opacity. Alright, let's see, this is Alt and make it red to see more clearly. Yeah, that's good. Go back to gray. Now we have our carpet. Alright, that's great. Switch back to F2 or 3D view. And here, That's good. Let me bring back everything else. Look through camera. Alright, the chicken. Nice. In the next video, I'm going to work on Clark, The Wall, Clark and this bachelor and hangers and also the jars almost at the end. So see you in next part. 36. Making Material for Wall Clock: All right, let's continue. Let's add texture to the cloche RDD. Move the glass so you can see the inside of the app. So let's go and create another folder called that luxury and tie filter. Select all of the clerk. And Let's see what we have here. We need a little bit of plastic and the whole thing made metals. So let's create a folder inside of that body. Another folder called that inside. Why not? And another folder called that glass. This part here. Alright, now, scope inside the body, black mass research to mask only. Select this bar d. Also here, middle or not, Nana. That's the whole body. Switch to mask inside. So take all of the parts. And one more massive or D glass. Alright, now that we divide it, the model, Let's go and add a fill layer or maybe go inside the myths base materials and maybe use this iron rod damaged. Just click on that and it's going to replace with the fill layer. It's called that base. Or maybe delete that, drag and drop the item, rub it a name, the proper name. So go and change the UV tile you've prediction to trap and I had to get rid of this UV seams. So thrive Lehner, maybe three times. Alright, that's good, that's evenly distributed. Now let's add another layer called paints, and let me check out my concept to see colors, some greenish bluish color. So let's keep just colored and roughness. Make it almost half, maybe 0.7. Alright, now, for the color SKU and around here, yeah. Why we seen the seams? Oh, that's not good. Maybe no height, no roughness. Yet, just a texture. Yeah. Disabled this boats and still visible. This seems still visible, so I don't know why, but you have some seams visible. So let's delete that layer called metal and start from scratch. Maybe full metallic. Most metallic steel we have seems a visible to us. Snaps, right. And why is that? Let me switch to our base baked materials. Cycle to refit P. Alright, The problem is nuts. Inside D based materials. C to cycle two. Channels. Yeah, we don't have any problem there. Alright, the metallic part is the problem. So let's keep it around here or maybe non-metallic at all. But almost no roughness enable the paint. Let's go to smart masks and look for paint. Paint or paint, or maybe this one, drag and drop. And as can see, it's inverted. So let's go to mosque builder. Global invert and change the level and drop the grunge and less level to target the edges only go back to metal and make it a bit darker. Make it look like the metal. Maybe little bit darker. Alright. It's looking good. Let me go to mosque. It is what an inside curvature. Maybe change the curvature sitting a little bit convex. Contrast. Later, bit more grungy. Aright, maybe more green. Yeah, I guess that's good. Now, SKU and add little bit of height to the paint as well. Enable to hide a bit positive height. Here, something like this. Maybe 0.03 or maybe 0.04. Yeah, it's good. Go back to paint mask and go to grunge. Bit more scale. It's going to tidy grungy, map, less grungy. And a o, open up the a or setting. A contrast and maybe some like this little bit of ao. Noisiness. That's good. All right, That's body. Go to insight, make a layer for back. It's going to be the last sticky look. So let's go and use this plastic mats. Change the color to almost white, and create another one on top. And let me add a black mask and select the arrest of the stuff. Insight. Make them black. Alright. And little bit more roughness. Also in here. More roughness. On top. We need to have a a or dirt. So you know the drill. So keep the color Roughness, make it almost a 100% giraffe. It a bit darker color. Multiply the color. Alright, And like mask layer, I'm in the collusion of the channel, the material accessory added level in bird and it's changed these sliders to something like this. Alright, let's make them even darker. Alright, now add another layer. Multiply color. And in sandy texture ours do we find a suitable textures? Sounds like maybe disgruntled your team. Maybe mean max. Now, this multiply or subtract is good enough. And drop the opacity a bit. Make that lighter. Alright, now we have something here on top of the bag, and let's add a fill layer bomb. If dyed black mask and feel. Let me look for BMW. A little bit of positive height. Alright, that's good. Not that much. So 0.01. Alright, now, let's go to D glass. And a base. Just skipped the opacity. Almost nothing. Let me switch the opacity because we can see the opacity in this shader. So Control D and roughness around tier, black mask and feet layer. Let's go and find something like maybe this pine debt. Add another fill layer, ambient occlusion. And max. Maybe throughout this below. And multiply this one. Add a level here after the o. Also, we can change the name here, A0. And inverts. Let it be something like this. Alright, now we have our clock material created. And let's go to the parts because I forget this part. Let's go. And first of all, inside the parts here, have this parts in a belt also. So let me see here aluminum, copper metal. Yeah. I didn't add this or include this inside the metal. So here in the very easy to compare, pure copper here. What's this? So let's switch to brush paint. And also it one. Let me undo this paint here, x and add some painting here. Inside here. Compound paint, some pair at the bottom of this part as well. Good. This paint. Some multiplier effects here. Also the scratches. Scratch here. Now paints some scratches just like debt. And let me look for plastic here. Switch to mesh, polygon, feel and Mish, we'll select the plastic. Yeah, that's it. Alright, now, in the next video, I'm going to add some texture to this trash can and just boxes. So see you then. 37. Trash can and Cardboard Boxes: Alright, let's add some texture to the cardboard box and this trash can here. So first of all, let's add another folder. Let me repeat the colors. So this phone there, maybe trash and another boxes. Alright, now, trash can, first of all, exclude all, included this or this fun exclude all and include this tile. Alright, now, let's go for thrash. Select a plastic. I guess this. Let's stick Madison's goods. So drag and drop it here. We need to divide this trash to actual trash and the trash bag. So add black mask, select this trash we did here. And for the bag in other black mask and select debug. Alright, Now, let me capture the color for plastic from concept or that's not good. Let's go and make it a bit. Let's try again from lighter colors too. Like maybe this part lighter. Yeah, a little bit more. Brown and light brown. Alright, that's good. Enough texture. So create a folder called fall not folder, the fill layer called bond, just keep the high. They would have positive hides, black and feed. And let me go to Text chairs and maybe let me see this. Maybe this one here That's looking plasticky enough. More. Alright, needs to be projected intrapreneur because we have seams here. Stripe planner and three times. Not that one here. Try planner. And three times. Alright again. And let's add another field layer on top. Subtract from this grunge maps. And let me look for something, maybe like this one. Alright, also try planner, also three times and drop the opacity. Maybe. Before that in the D hall grunge maps. And we have some variation going on. And maybe switch these two, another one. Here. This is more acceptable. So it's going to add or maybe in bottle. Like a dirt road, see throttle up here. See the results. And yeah, that's good. Also add another fill layer on top inside the a or dirt fill layer. And I'm maybe at something like this. And it's good by itself, bar needs to be protected trade planner. I guess that's good. Yeah. Hey, that's enough. So that's our trash. So let's go back. I psi PVC plastics. So let's use this PVC. It's nothing but a height, white noise, and a little bit of roughness value. We need to change the color to black. Need a bit more rough. And yeah, I guess that's it. That's our trash bag. Maybe adding a new layer called edge. Just color and roughness. David Moore off and color and it's a little bit white for now. And a black mask and fill layer look for curvature here as always, and the level invert that. And Let's drop the opacity for whole thing. Here. Now we have some variation going on. Alright, That's our trash back. Let's go two boxes. Create a Feedly or insight. Let's call that base height. Just keep the height positive height. Black and field. Look for gradient. But that gradient, there are linear, this one. Here. Let me see the resolved. It's changed the prediction to try planner. Make it even more. Contrast. And also 90 degree rotation three times. And let's see the result. Not dad's bucks or carpet back seat, but it's close enough. So let's add a filter. Blur on top. Let's make it six. Yeah, that's enough. But it needs to be for each box. So height, its height, base height. Am I doing alright, base height. Create a folder called box 01. Put that in here. Musk black mask here. And control di sera to clear mask. Select this one. Control D 03 and clear mask here. So now they are having a little bit of problem. Let's go to bucks tool and grab this gradient and rotate the gizmo. Just like debt to match the model direction. Also the bugs three, Let's go to base height gradient. Let me, first of all, scale that down a little bit. That's not good because it's going to scale the whole tiling and that's not where I want. So here, I guess that's close. We have two tree heights in 34 there. Now, we need to add a base color as well. So base color, just keep the color. We captured the color lighter around here. Also really rough. And add another color, maybe duplicate that, so called that hedges. And maybe Linear Dodge Ed, to make it a bit lighter. At black and fill layer, look for curvature. Followed by a level. Target the edges. A little bit more. Alright? And followed by Filter Blur slope. Maybe 100 this time, ie a little bit less intensity. Alright, before that. And it's a Control D to duplicate. And maybe recall that this parts, again, Linear Dodge and black mask layer. Let's go to the texture. I believe we have some spot or something like that. Maybe this debt to one, Let's use this one. All right, that's enough. It's good. You can make this a base layer laid a bit lighter. Around here. Also. Let me see. On top of every height, Let's add another field called that. Bump you up to height as a div and black mask fill layer. School and maybe this dirt. Make it more time. Maybe it's x times not positive, the negative, or write it n. And on top of everything, we need to have a a all dirt color and roughness throw off multiple eye color and black fill layer. Look for on a condition here. Let's see that. Alright, so let me target that more carefully around here. And more dark. Alright, that's good. Let's go. And just at this base color with black mask to this one. Control D, clear. Here. Control D again, clear mask. And let's change the color slightly to have more randomness. And this one around here, maybe the second one it's ready to light. And a third one. Right? That's good. So we added lead a bit of randomness to the boxes and the good. But let's add more life to them by adding a fill layer. And that March like mask field. Let's go to alphas. And you find it suitable alpha. Such as maybe push. I need to find more, something more. Boxy, design it, be fragile or something else. Can find anything. So let's use maybe this warning. Drag-and-drop, no-repeat. Go to F3, find our boxes here. Move the wanting up F1, and let me drop here and scale it down a little bit. The intimate down. And maybe move that over here. Back to color or base material and make it red or maybe orange-ish. And 100 per cent roughness. Multiply the color. Now, let's change that to something. Maybe it's red, but little bit less opacity here. Alright, that's good. Um, construct d. Let me switch to another marking. I don't know, maybe something like this. Drag and drop it here. And we find the box. Yeah. Scale it down all the way. And this one, Let's make it blackish. Now we have some variation. So let's switch back to F2. Alright, that's good. In the next part, we're going to add textures to the bachelors and also this hanging things. And after summing this napkin eating and is a jar. So see you in next part. 38. Napkin and Jars: Alright, this part, Let's go and first of all, add some pattern texture to this napkin things. So let's go after your inside dishes. After dishes. Make a folder called fabric and the color SKU and create a black mask. Select them. Alright, now, we need to have a fabric immaterial. This time let's go into assets and inside the smart materials, we have some fabrics going on here. Maybe. Let's see what do we have? Let's use this one. First of all, you added that to all of the meshes, then apply the filter. I need to put it inside here. Alright, now we have some fabric pattern going on. Go here. Select the fabric, switch to custom color. Then select a really white color. Maybe a cubed it there. But let's tweak that empty desert or generator dearth throughout the dirt level. Contrast and also drop the opacity of the layer. Alright, That's good. Let's go in and F There are tiered. Create another folder co-owned, not folded, layer. Current. Flowers. Just keep the colors, color, and add a black mask. And PHY layer. Let's drop this lover inside assets. That's texture and current project. Let me see if I drop that here. Like so maybe ten times. And it changed the color to something like reddish. Maybe more times here. It's good to 30. Alright, now let's predict it by adding another layer. Subtract. And let me see what we have here. Insight textures, maybe something like this or this throughout the opacity. And here you go. And if I hit duplicate flower color, let's change the name, delete all of this, and also remove mask. Now, if I tear up the texture, where is it the flower inside the base color? It's going to project D. Lover, only maybe 20 times 25. And it's going to look like something like this. And let's add a filter. Hue saturation. Make it less saturated, little bit less vibrant, more lighten. Also, we can combine them together by adding or is it D, 25 or so? And the balloon after the flower, red flowers. Maybe slope blur. Alright, now, as you can see, we have we made something different. Let me go to fill and move that offset. Here at the middle of the colored flowers. Can see we made something interesting. Dropped the opacity of lovers. Maybe lean a bit less. Here. Make this Tuesday as well. And move it in between. And maybe add more intensity to the slope blur. Alright, That's not bad. It just spell, let's make the you to be a bit reddish sides. So around here maybe deep green is too much. Green is too much. It's something like this. Let me drop the opacity for the red ones as well. All right, that's good for now. And let's go to the jars. First of all, this carpet, carpet, carpet height. It's a filter of bluer and make the height little bit higher. Yeah, it's much better. Now. Let's see. Go ahead and make another folder called chars. Mask them by tile here. Alright. Have it all. Inside dad's. Add another folder called glass, like mask and select D glass on. Another folder, ceramic. And select this one. Alright. And another folder called and that's alright. Fine. The chaps. Only. It's good to base materials. Choose aluminum or maybe one of this base metals here, Ayers Rock, maybe. Drag and drop it in metal. Here, those are good. Also. The ceramic. Let's go and find the parts. Parts, the dishes and table dishes here. The table and a ceramic base, which we'll see go all the way up and paste it here and remove mask. Yeah, we have something like that, but it's really white. So SKU and change the color to something like this. Alright? And also, we need to have another layer called flower. Make the color something blue. Just keep the color black mask. And let's go to textures. And let me see what we have here. Maybe this one. No, it's not good. What about days? That's not good either. And it's good to our flowers. Yeah, maybe reuse this one. Tied that. This is really, really uniform pattern scale. I don't like that. Dad, Juanita, in this. Let me see. Oh, this is something like this. Alright. Now, let's drop the opacity around here. Also. Add another fill on top. Subtract debt with maybe some like this. Enough contrast. Let me switch to here. Alright. But maybe let's go back to base ceramic and make it something around here. Alright, and insight dishes, a guess, V had a bump. Let me see if I can find any bumps. Bump here. Let's see, Let's go up here through V and dad's a little bit of bump and see if I could exclude this part. Alright, they can't. So maybe we can see that from this distance. So that's not important. Maybe add a little bit of height to this balloon things and drop the opacity of this subtract it, make it less blue. And let's hide. All right, now, good. So we need to make some material for glass. And as you know, we only need to have opacity of almost nothing less space. And it Control D. And glass. Roughness. Little bit of black mask, the layer. And let me see something like this. Let's see the opacity channel. Add more roughness to the opacity and roughness. Let's go to crunch. They could three-time. Little bit less opacity. Alright, that's good. Go back to material mode. And that's enough for this apart. In the next part, we're going to finish up the rest of the models and also this chapter. So see you in next part. 39. Spatula and Wall Hangers: Welcome back. And let's add some texture to the spatula and this a ladle so and the colored deaths. So it's cool, too. Tight masks. So take this wall hangers here and here. And I believe that's all. Alright, Now we have some metallic and wooden parts, so add another folder and metal. So black mass to metal. And select all of these labels. And black mask, bachelor's and EB, Tylor and also maybe evolve, hanger. Cynic this two parts only. Alright. First of all, metallic parts. Yeah, Let's go to base materials and select one of these base height base metals. So maybe I'll drag and drop inside and it's almost perfect by itself. That's really good, except the height. Alright, that's good. Maybe add folder, bit only color and the roughness may kid off and multiply. And a black mask fill layer and the collision. And level, where is it here? Maybe C, D effect, invert that and make it to be something like this. Here we lead a bit darker insight. Alright, that's it. For the specialists. Maybe this time use this walnut. Needs to be rotated 90 degree and make them a lighter color. Alright, that's good. So maybe let me use try planner or this 13 times. Those are good, but not this one. So let me go and add a white mask. Exclude this one. Duplicate that. Remove the mask and a black mask and select only this one. Select it, rotate the gizmo. Something like this. Alright. See up close. And it's good. And I maybe rotate in this direction as well. Yeah, that is good. Let's go up and maybe here the a copy the CEO. Paste here. Maybe sea salts. All right, that's good. Make it a bit lighter. Or maybe switch to Linear Dodge, Add. Good. Alright, that's debt. And maybe after this to last, let's add a color, just color. Call that 001. And black mask. Select this tree. Multiply Color here up, and make them a bit dark. But have some variation. Go to hanger. Maybe this time use while NOT gate again. Nine degree rotation. And a bit lighter. Also here, A0 copy, paste here, and we see the result invert and make it really tight and multiply. Alright, that's it. That's it for this part and also this chapter. So in the next chapter we're going to make some organic materials. Paid some bread with stencil and also ham or meat, and this apples toast inside the toaster. And also there is a little bit of coffee beans inside D, one of the jars. So let me switch to default camera and see you in next chapter. 40. Texturing the Apples: Hey guys, and welcome to the Chapter seven. In this chapter we're going to make some texture for organic acids. So let's go to organic material and make it isolated. Alright, let's start with the apples. I already added. The h is o or height 0, scattering 0 and opacity 0. But we will have opacity path. So let's go to textured sets sitting unsupported by shader and opacity and make it already in opec site. So let's go and add a folder called ARPU and give it a color. I prepared a little bit of resource, so let's go to Assets. Grabbed two textures and put it in texture and project or organic In part a. Now we have two sets of textures. So let me check out my age UVs for apples, yet, those are apples. So that stands. Go back. First of all, let me create a folder. Exclude the apples and include this one only. And inside a folder, 0 bonds at eight black mask. We diffuse mesh field selection and let's select this one articles to check the selection here you have seen here. So let's add a fill layer called the base and grab texture and put it in base color. It's not that bad, but as you can see, we have some seams going on here. So let's switch to try planner, right? And like me, Let's make it smaller. Really small. And move it here. Right? Not that bad. Maybe a little bit of rotation. We seeing this assets in this distance, let me switch to camera. Yeah, in this distance and it's really far away. You can't really see the patterns. Because as you can see, we have a little bit of blending between the predictions. So yeah, Not bad. Let's add a, Let me see a texture for deliberate bombed. So let me go to textures. Here. Let's add on the Color Bomb player or thin-layer called that bombed. Just height and roughness. And molecular mass. Fill layer. Bmw. Oh, maybe. Let's duplicate the base color cone that bomb because we already have the projections set. So now let's add a mask. If we layer now be in W, we need to set the prediction here so it doesn't matter which one we choose. So. Let's go here and add a bit of height. Maybe ten times, repeats you to have lead a bit of bump. Alright, that's good. And also a roughness value. Something around maybe 0.5 less 0.4. Alright, that's good. Now a, A0, A0, dirt or shadow. Just keep the color. Make it multiply. And black mask feel. Look for ambient occlusion. Where is it the organic? Here? I'll click on Mask. At a level. Make it tight and invert. Yeah, something like this. And maybe a little bit darker. Alright, good. Let's hit Duplicate SiO2 layer mask and select this one. Maybe skull base to base color. Move that a little bit and rotate. Alright, something like dads and Control. D. Layer mask. Go to pace and a bit of rotation. Yeah, it's good. One cutthroat D is for clear mask. Mask this one. Alright, now another one there. And select this one. All right? Right, that's our base. And school. And on top of everything, Let's add another layer that there. Let's keep the color and drag-and-drop. Second texture tray planner and make it maybe 15 times. Alright, and a black mask layer. They will find a, I'm grunge for adding randomness. Something like maybe this planner. Let's change the blending mode to something like maybe overlay. I don't like that. Maybe could be the normal. And it's changed the Grange value. Great skill. Alright, now let's disable that at a painting the layer this time, and here inside the base color. Let's grab our texture for apples. We find that here. Grab, drag and drop, and this time switch to protection. And here inside to 3D view or TW, that's no different. So now we need to drag and drop it. Right now. You can control the projection stencil with the withholding S. And same Controls. Right-click, left-click for rotate, right Kate for Zoom, and middle click for Penn. And also you still have control over the moving the models. So now let's add, let me switch the barrage to something like this and make it smaller. Now, we can fill the gaps. Projection and covered this blending areas that cause by prediction tray planner. Alright, now let's switch back to barrage of problem here. Jpeg distance seal, and hide this area as well. So add the button. Alright, now let's open up every folder. I'm going to delete the parts from each apples and drag and drop the last one on top of travertine. Now we have control over all of them. Maybe enable the variation and drop the opacity, or maybe for variation, let me clear the mask. Paint here and switch to paint. Choose a barrage, something like this. Make it smaller. And maybe switch to something like 0.5 and add some variations. Just like so. Also we can acidic Deaton material itself and add a filter. Maybe a slope bluer, and hundreds switch to Venetian mask and see the result. Here. Can't do that. So let's add the will or after paint. It gets 100 and maybe even more thousand. And after that, another fielder, another filter and just simple blur. Alright. Now let's go to maybe, maybe disciple after base or inside debase projection base color at. Let me switch to filter in sight assets library and find a l, put it up here, and change D. He knew something greenish. And drop the opacity to have more variation. Maybe a little bit less. Alright, now it's closed them all. And see there is old with every team. Let me switch to camera view. Rotate the light, or maybe even switch to lie to something or studio eating. Maybe this one. Here that's more than enough. Alright, in the next video, I'm going to add some texture to this. Meets here and the board under the mid cell. See you in next time. Next part. See you in next part. 41. Making Texture for Bread: Welcome back. Now let's add some material to the bread. So let's create a filter, folders and bread and edit color. Let's exclude all and include here spread and board. It's good to Brett folder. And it's got to meet folder and let me copy and paste them inside the board here. And let's add a black mask. Select just the board. Let's go to a one naught and move the protection around and rotate as well. Alright, That's good. Now another folder or bread itself. Select this and create another folder for sliced. And select the air sliced breadths. Here. Alright, now, let's go to breed itself. To paint a layer. And it's good to resource and bread. We crab. Put them here. Shift, select all of them, texture and predict organic. Alright, we're going to use this tree. So let me switch to stencil. Replace the input with this one, and rotate the model. Anybody have to zoom out and start painting? All right, switch to the site and its capture. All of the old, they are really different. So let me go with this one. Maybe. Here. It's put this thing down. And we go up here. And again other side make it smaller. The bag it switched to this texture. Maybe add another field layer and paint them a layer three switch to. Stan said, no, paint. Alright, now let's add another one. Such distancing and switch back to disparate. Find a place to protect and fill the gaps. Write something is it's make the brush opacity less. Berlin days areas. Alright, let's see the result. Bad, not perfect, but I'm not that bad. Alright, now, let's go and put all this tree to the phone there. Maybe that one. Make them inside with them insight and add a black mask. You change here. Alright, now, let's paint the inside of the breadth or maybe the field layer card, that insight black mask. And select this UV chunk here. And let me grab this texture, put it in here, and maybe tie that a little bit. Six times, seven times predicted connection and here, something like this. Let's go back here and say deep pain to my layers. Switch back to stencil. And let's paint some areas. Also. Let me switch my display. And let's fill layer, just keep the color, make it multiply and darker. Alright, a black mask and a paint. Switch to paint. And make this a bit darker. It x and It did to line. Alright, let's go back to material and make it lighter. Also, let's change the color. Something like this. And less opacity. Alright, let's add a bomb inside this folder. So layer called bombed. Just kept the height. Black mask PHY layer. Alright, now let's find a texture, something like maybe, maybe this one. And then I switch to another one, something like here inside the bump, something like this. And 0.5 repeats. Also. Let's go up here below the bomb and you can layer count roughness and just keep the roughness and make it rough. Insight bomb in a multi, roughness as well. And make debt to be some that are on here. All right, it's good. And C here inside the mask. Let's add I filter slope blur and add a bit of a slope. Alright. And insight or is the slice inside here? It's additive. Terror here as well. Make it round thousand and noted to be leaked inside the red circle. Alright, now, let's see if I add this surface. Alright, good. It's add inside and here I can't see the other one. Yeah, here, right now inside the toaster. So let's delete this slice. Or may be low the inside. Alright, now, let's go here, add a layer inside slice folder and see if I can repeat a texture from. Where is it? It's fine to breaths. Here. Maybe paint or maybe repeat this. Alright, Now, that's good. So let's delete the fill layer, select the inside and the paint layer, slicing, painting layer and protection. Let's rotate our slice and paint all around. Alright, let's rotate the x chair. Holding S. Alright, here. Incited to stare. The other side. Alright, let's check to meet deed. The board. Let me check the board. Uv, slice and bread. Alright, so let's grab the board and put it up. It's not bad. Ben at all. So it's C, spice and bread. And let's copy the roughness and also the bump and put them on top of D slices. Alright, something like this. Let me see inside here. On top of everything. Let's create a layer. Toast and black mask. Select just these two sliced off breadth. Alright, and school. Just keep the color. Maybe make it linear burn and less. Ct. Alright, now let's bring back everything else. Yeah, It's not too bad. The next part, we're going to add some texture to these mushrooms and a coffee beans inside this jar. So see you in next part. 42. Making Material for Meat: Alright, let's make some meat, or meat or ham or whatever. So let's create a folder called meats and exclude all from UV tiled. And add all of this UV tiled inside the folder. Let's make another folder called Meet and black mask. Let's select polygon, mesh, feel. Maybe this smith. Alright, that's good. And inside this folder, Let's add another folder called sliced black mask and select this two. Here we need to add all of them. Alright, now we have a folder contains all the meat and insight that you have a four folder or sliced. Alright, now, another folder and born black mask. Select the board. Alright. Let's go and add some material to the board. This time, let's go to smart materials and see what you have here or maybe, maybe some like this. It's a little bit dirty. So let's see what we have here for dirt. Grunge pairs with Fiverr noise and no sharpen. And I'm like that. So let's delete all the smart material. Let's use this walnut base. That's looking good. Try banana production. The me. Make the prediction smaller. And move it. Here. Lean a bit of rotation, right? Nice. Now let's change some colors. Maybe around here. Yeah, it's good. Emitter offer. And maybe around seven times of the Rings steps. Alright, now let's add a layer called edge. Just keep the color black and fill layer. Let's go for a chair which are organic or is it here? And 11? Invert that maybe no, no invert. And we're looking for something like this. Alright. Those are details underneath. Alright, now let's add a filter. Slope blur. Thousand little bit more Divide. Change the material blending mode to maybe Linear Dodge Ed. And drop the opacity a little bit until like this. Maybe change the color to be more yellowish, orange tone. It's good. Let's hit Duplicate. Change the color to something gray. Change the name to a o. And let's disable this to go to feel. Alright and look for ambient occlusion. For organic acids, alright. Enable new level. Invert. And make that something like DC. Guess. Yep. And multiply. Let's go back to level. Maybe a little bit of slope. It's not a bad idea. So, alright, and more opacity. Alright. That's for board. Go to meet a folder. And let me switch to another folder for source. And this time we need to paint from beginning. So let's throw out them on Shift and select the last one, texture, organic project and import. Alright. Now Let's switch to front. Add a fill layer, nothing slice. I'm going to name that 014 now, owe all that debt. Eight. Paint layer. Switch to prediction. And I change the input to, let me see something like this. I can drop it s and make that smaller. And let's paint me a different brush. Let me switch to brushes. This is much better. Alright. Paint all over and move D takes chair. And again, this time of the model, I guess. And fill the gaps. Alright, that's good. And create a black mask for this prediction. And UV chunk, select this one. Only. Now we have some texture for this area. Let me switch to cite view and create another painter bilayer and CH2 and projection again, takes chairs. Let's find the myths. Maybe something like this. Try again throughout and paint on there. Now, let's rotate. It can rotate again. And I'm trying to make it more natural, so let's rotate that and continue painting. Also down here, we have some areas. Alright, now, let's switch to tough for you and try matching data. Model to this fat area, fatty area, and paint a little bit. Alright, now let's switch to another one, something like this maybe. And let's make, they would have debt to make it more natural. Or maybe using this one, It's better. Alright, let's switch to brush and create a black mask UV chunk, and select this to even spec area. Alright, and for the switch to same texture, but we need to add, this time maybe a fill layer. So let's try Fill Layer. Inside the slice, maybe 01. And then we track and throughout this texture. Maybe using di and tri planner, It's better option for us. Alright. Make it smaller and move it in place. Just like so. Even a smaller and rotate. Alright, and let's add a black mask UV chunk. And this four sides only hit Control D, CH2 UV for this one, and clear the mask. This time, select this. Let's remove the mask. Grab and drag it behind this one. Dry planner. And this time rotated. Let me see near UV arrangements. It's nuts. Want and need to remove this area, ours. So let's do dad with base selection. Switch back to 2D, 3D and see. Maybe if I save this layer. Again, select the whole mesh, change the UV projection in later Bede's. Can catch sites as well. Maybe make it a little bit bigger. And it's much fitter. Alright, now, let's go up. And let me grab this A0. And above the mean, It's inside the limit. Let's see, dads go to level. Alright. Now let's go up. What's in folder, nothing. Alright, did it default? There are right, and above the painted layers. This one, and here it's going to add a fill layer, bump, like mask. The layer. Maybe something like this. Positive and negative. And then it repeats. And a bluer after that, that level filter and simple blur to add some textures. Alright, and a multiply color. So just keep the color black mask and artificial turf field layer. And maybe add maybe something like this. And make it protection try planner. Maybe three times or even more, six times multiplied the color to have more variation. Alright, let's get into cleaning up video. We're going to add some survey subsurface to this organic materials and make it perfect. Alright. Let me interrupt these multi-paradigm little bit, and this one as well. Alright, that's good. Let me switch to camera. Bring everything back. In the next video, we're going to mix some material for this bread loaf here and pretty slice inside the toaster. So next part. 43. Mushroom and Coffee Beans: Alright, let's go for some mushrooms. So isolate bolder and my items and coffee beans. Alright. Exclude all and include these two tiles. Folder and mushrooms. Black mask. Select just the mushrooms and other folder. Beans, and select all of the coffee beans. Alright, Inside the mushroom folder, let me, first of all, a bunch of mushroom resource. Drag them here, Shift, select, texture, and predict. Right now. Let's see painted layer and stencil. Let's grab this one. Immigrant to 2D view and then it's fine. The mushrooms here, three mushroom heads, so find one mushroom. Texture like so. Make the brush smaller. It's paying debt on another 1 third 1. Alright, let's go back to 2D view. 3d view. Sorry. Let's continue. Right. That's good. Maybe it'll rotate the image to match our mushroom insight to treat seen here. Alright, it a bit down here. Now, behind or below the painted layer, Let's go and add a base color and capture maybe this color. And maybe roughness of 0. And other one. Just keep the color. Maybe the lighter or darker color. Black Mask layer. Let me go to my textures, grunge maps and find a crunch. Something like maybe this one make it bigger. And it's re planar projection. Alright. And above the painted layer, let's add another fill layer. Just click the color and a black mask, this time paint, brush. And let's paint. Let me switch to tablets and paint all around. All right, something like this. And the last one. All right, Now here in this base layer, alright, and here, that's not bad. Maybe make it a little bit lighter. Alright, and in this layer, let me switch the blending mode to something like normal and less opacity. Maybe a bit here. And also enable the height little bit off. I'll say defied. All right, Another one, Control D and C 12. And clear the mask at another paint. This time. Add a little bit of variation here. At the bottom. Alright, something like this. And a fill layer called edge. Just color, black mask, fill layer and curvature. Curvature. The level not filter a level on top. And let's try that to be at the edges. All right, now, let's break that up with D. Slope blur off downs and n bit more intensity. And maybe touch at but less opacity. And also a folder called a o. As always, black field. Just keep the color. Go to a o here and called for an Venta collusion of organics. A level on top, inverts and something like this. It multiply. Right? Let's go back here. Make them less obvious. And also the coffee beans. So it's good to beans. Those are just pure brown. Enabled roughness and color, almost one, and roughness and color. Let me find it. Dark brown. Those are inside the jar so we can see that much. So base at another fill layer, call that edge or cavity black mask fill layer. Let me just keep the color go back to and curvature. It's at a level in to debt. Alright. Now it's multiply. Maybe edit, filter and snip blur. Yeah, it's not bad. Alright, let's keep them that way. And now you're almost done. In the next chapter, we're going to make some cleanup, balance the scene. If I switch to roughness, As you can see, it's not dead balance or maybe mental illness. It's not balanced at all. In the next chapter, we're going to balance the scene and explored some textures. Alright. See you in next chapter. 44. Cleanup the Scene: Hey guys, and welcome to the Chapter eight. In this chapter, we're going to do some cleanups and change some of the colors and balanced the scene out. So let's start from beginning. They started at the wall and floor. So let me switch to isolate and let's see what we need to change. So in here, we have our default. It is all white, 0, metallic 0, opacity all the way up and scattering. So that's, looks nice. Let me switch to roughness CA, we need to do some roughness scaling up as well. But in this video we're going to clean up the normal and base color. So base color. Alright, let's, looks good, but the Valls little bit too dark or too blue. So let me go to walls and color. One here. And color too for the dirt and collectively for the highlights. So base color or it's low. Let's go and change the base color to something a little bit lighter. Around here, I guess. Change the color 12 more bluish, little bit lighter. And here for the desert, let's reduce the opacity only. Alright. Now let's copy all of these colors. It's good to not save all of the colors and delete them. And pasty colors here. Alright, second. I'll second. And here, and also in here, base height, this height here. Alright? Now they are succinct. Alright, back to materials. And see in the vault, It's good base color and make it a little bit lighter. And also let me rotate the light, right, That's nights. And let's go to height as well. Base is the fine details. And yet we need to change the height for imperfections. It a bit less. Almost at the minus 0.01. Alright, That's good. Let's go to perfection for this wall as well here. Minus 0.0110. All right, that's good. Now, switch to normal or normal height combination. Alright, that's good. Switch back to material. And let's see what we have here. We need to be maybe change the floor little bit lower here. But instead of changing the color one-by-one, Let's go and add the HSL filter on SOP and make it a bit lighter. Alright, that's good. Now, window, window, It's good. I don't have any planes, so but there is one team. Let me switch to opacity. A little bit too much opacity in the curtains. So let's go to Window and fabric. Here, opacity, let me hold Alt, click on the plus CT here. And fabric pattern. It's at. Need a bit more. Alright, we have to have some capacity. Let me see here base, CT, pattern and color. Also hear pattern. You have some capacity here. So Let's make that a bit more opec. Also, this one more opaque. And the fabric opacity, a little bit more. Something like this. Alright, that's debt. It's good to tiles. Let me switch to color only. Those are not that bad. So let's go to version one and version two. Disabled them on its color. Alt clique. Let's throw up the color a little bit. Alright. And base, do we enable the variation? Alright, it'd be change this color to something more subtle, lighter. Let's go back to material. Alright, net bed. And version three. Alright, now, dirt. Let's reduce the day. Decreased it somewhere around here. Alright. And we have some variation. Height as we'll find a good angle to look at the height. So here you can go to tie, switch to hides and decrease the whole height to something like this. And outlets. It's duty roughness as well. To roughness. Here. The window is a little bit too. Glasses. So let's see what's here. At little bit more roughness here and walnuts. Let me see. Roughness. Something like that. Also this curtain met or is it the metal here? School inside the base? Add more roughness. Alright. And for the tiles, let me go to tiles. And let's add a little bit of roughness on top. So add a layer called roughness. K can roughness add more overall roughness? Let's see, real mode. Rotate the light. And this rough around here. Alright, now let's switch to metallic. Antique. Only metallic parts are the window glass and also this metal part Insight window here. It's go to the metal. And let's overwrite the metal or maybe this overwrite their insight. M, still stained, adding another layer called metallic. And alt, click on metallic. Make it to be something like this. And let me put that below there. Yeah. Around here. Alright. Switch to material. Maybe a little bit more. Yep. Also the subsurface scattering. Let's go and choose the scattering channel. Alright, that's good. You have only the outlets So and also the floor. So let's go to floor here. And alright, d scattering. So I guess that's debt caused by the HSL. So inside it as L, Let's disable this scattering. Yeah, that was a problem. So now we have scattering only in the outlets. Those are plastic, so definitely has some scattering subsurface going on. Alright. Debt, is it good? To me, it's safe. Alright. Let's go to D, or is it D? Next we did cabinets. So let me switch to cabinets. And those are good enough. But there's some things we need to change. For example, this fabrics. Let me switch to here. This is our fabric. This one is 01. Alright, now let's go to height. After fabric pattern here. Let's go and add a filter blur. And then a bit of blue to make it almost bumpy but not that sharp. Alright, and same thing for the other pattern. Zoom one deed. Concept and are solely me see if I find any pattern better than this. Switch to this one. That's the same. So what about this one? No. I just change the fabric pattern that the colored patterns. So let me switch to this one. Or maybe this one. Now. What about this? It's the same. What about this but inverted? Alright, I guess this one is better than previous one. So skipped debt. And it's got two other pattern here on top of the fabric patterns. Add a filter and blur a bit of below. That's enough. Alright, the colors, let me see from distance for the vorticity cabinets. Alright, here. This is the booths and paint. Alright here. Let's change that to something a little bit more greenish. Debt much. Let me switch to color only a little bit to our care. Alright, let's keep that. And we have the foods here. Yeah, those are nice things which do roughness and make the paint a bit more riffraff. Debase here. Ahmose at the white. Alright, now, grunge, somewhere around here. Alright. See the roughness, only the damage. Let me see here. Now. Now here, the base color of the damage. Let's add more of Mr. there. Alright, now, let's override the roughness and tight. Is it D tiles up here at a base color, name that roughness, Alt critical roughness. And it's over right there. Below there. And roughly 50 hertz make them almost 100% or off. And switch to base color. Extent. Inhibited less. Alright, now, sync. See the roughness value. A third. That's where facet and here sync. Alright, this one, Let's make it less. And care a chair. Now, let's see the result. Alright, and little bit more on this site. And a metallic here. Make it The bit more rough or base and less Raph for the Earth's. Something like this. And it handles. It's good to hear the metalloids. Let me see metallic. Alright, here for the base HSL, Let's enable the mental illness as well and make the whole scene non-metallic. Right? Now we have this parts only. And it's good to hear. Maybe situated roughness. Make that a little bit rough or is it D? Roughness, roughness, roughness, sharpen and see their roughness. So Here. Yeah. That's it. And I guess that's it for this video as well. In the next part we are going over d. Are there materials and things are getting up. So see you next part. 46. Finishing the Cleanup: Alright, switch to organics. And let me see. First of all, metallic here. We have the same issue. Switch to H, s, o and nibble metallic, non-metal everywhere. Alright. Now the roughness. Alright, let's go back to HSL and enable the roughness as well. And make that to be rough here. And that's going to be our base roughness. So the colors, I guess that's good enough. Yeah, that's good. Except this toasts inside the toasters and scattering. You don't have any scattering. So let's go here. Apples. And on top of everything, It's add a layer called SSS. And only keep the scattering vector mask, feel and inside the field, let's search for thickness. Here. Let's go and add some scattering here. After field at a level. And that's going to be our scattering needs to add a blur filter to make, to get rid of these artifacts. Here. Let me switch back to material modes and increased your scattering. I also hear okay, to add material to this bronchi teams. So if fear Fill Layer, Mask, this parts, those are just brown so it's good to be dark brown here. And food roughness, scattering nonmetallic, alright. Maybe less rough around here. Alright, and little bit lighter. Maybe copy. Copy DS ES. And go to MIT and ear board, know the meat. And through V. Switch to a scattering level and something like this. Let's add a filter between the blue and level. And that would be a slope blur with hundreds or thousands, little bit more intensity. And also let's duplicate this layer that curved. This time. Let me disable all of this and look for curvature. Curvature. Is it D organics? Level? Here, find the edges. Slipped, blur and blur. Not that much. Alright, And let me see if the color only and change that to multiply. Or maybe let me change that to something like this. And change the blending with two, for example, dark and make it something like this. Right? Linear dodge add, Yeah, that's better. All right, now this chick D scattering, again, copy this scattering. And let me see here sliced from V. And let's change the settings. Right now we have some scattering here. All right, Next, bread. We take the roughness first. That's good, but the insight little bit shiny. So let's make that even refer. Alright, so each vector, roughness and toast here. See the material or base color. And let me capture a layer from bread and make it a bit darker. And It's clear the mask and paint to the mask. And let's go to brush. To brush beaker. Let's paint the trend only. Multiply or normal. Then I'll make it darker, less. Alright? And also, let me check the scattering as well inside the bread. Let me see what we have here. Here. Let me hit S or V, Sorry. No board. Drag and drop it. Here. You can go to port. Scattering. Scattering here. Scattering purport. To add another layer is S4 board. Just keep the scattering and 0, alright, clears up the port. Let me change this setting for bread scattering. It's not the same as the meat, so let's change that to something around here, I guess. Alright, good. Now the mushrooms, alright, day here. Inside the mushrooms, pasty S. And we need to change some settings. Insight level. Alright, something like this. Let's take the roughness as well. And let me see what we have here. Let me enable the roughness as well, an override the roughness here. And inside the meats. Let's go down all the way. And that is sliced here. Myths curve 0102 inside the SSS, let me enable the roughness. And we have some meats and coffee beans are good. Let me check again the whole scene. Base color here, acceptable and height. It's good. Roughness. Roughness is good as well. Metallic and scattering. Alright, that is done. Let me bring back everything switched to camera. And you're ready to export the scene out. Alright? In the next part we're going to export and textures and render the scene. Alright, see you in the next part. 47. Export Textures and Render: Alright, Almost done. Now it's time to export our textures. I just moved back down this glass for Clark volts, so we are set for exporting textures. So let's go to Define and export texture or Control Shift and E. Alright. And inside the export texture window, you have your textures or material sets. Accessors are plans, cabinet then, and dining table or organics and volun floor. Alright. You have output directory, it's by default in this folder and Adobe and we substitute painter export. You can change that by k candies. And here, let me create a folder called export. Select the folder. Now it's changed to this folder. Alright, now output Template. This is the important one. So in here again, export your textures. You are desire, destination or a render engine. For example, are lot ai Standard Shader. Our node. You didn't legacy, corona, crane gene daughter and all that good stuff or just PBR, metallic roughness, the wrong one. So in this case, I'm going to select D AI standard because I'm going to render this thing in our North rendering. Alright. And they're dead. We have phi type based on output template here. Or jars. Change that on the fly. I'm going to set that on based on output template size, based on each texture size set. Let me save this for now and go back here. Textures that setting you have inside the texture sizzling. You have a size by default, when you start a project, a new project, it's going to ask you what size of texture you want it to work with. So you can change the size for each materials, for example, the floor and walls. It's not that important for you. So you can change them to something like 1024 or even 56 and keep dad like so. And when you want to export your textures, it's going to be based on your textures here. Or just change that to whatever you want. Eight k for k to k and 1024. Alright, now, if you click on each one of these materials, as you can see, we have some information here. Output template R naught, standard FAI type based on template and size 2048 by 2048 and you're naming convention and also your output file name or file type. Also, you are selecting this much tile that inside the accessories material or a place material. And you can exclude them all, uncheck them, all, export some of them, or none of these materials or tiles, or just explore some of the materials as you wish. So when you finish setting this, change, this setting. Simply click Save Settings. Then hit Export. Let me click Export for now with this kind of setup, it's going to process all of the setting textures. And as you can see, kitchen accessories, base color at 1035 is the name of the tile, and it's going to export that channel by channel, base color, emissive height, mental illness, and normal roughness. Let me go to. This nation. And as you can see, it's going to put the textures in here and now it's finished. So let me close that up. Alright, now, as you can see, all the textures are exported and are looking like this and Substance Painter, it's going to fill the gaps between your UV paddings. Alright, now, has, can see, I guess this is the frames for pictures. Rooster and the chicken and as our bread. Alright. But there's one problem here. Let me switch to List View. And as you can see, in an image up, a little bit of a problem with naming convention. If I try adding the material, sending the material to the motel inside the for example, Maya. I can't assign the whole UDM tied to the vein shader because we have kitchen wall and floor normal. And what is it? Kitchen organic? Normal, for example. And Maya or max or whatever software you're using, can recognize these as continuous. You didn't. So we need to change some settings so it's gone through a shift, delete and delete all of the texture export. Let's go to Export again. In here, inside the output template. If I click on, on, let me delete this or not copy, remove. If I click on node a standard, as you can see, we have some settings here. Output maps create gray, RGB, R plus G plus b plus a, and so on. And below that we have some channels. Here. It says export, mesh name, textures, setName takes your setName is your Material name, dining table, organic and violent floor, then a channel name, base color, then color space. Then you deem naming convention here. As you can see, 1016107 and so on. You need to change this in order to have one continuous UDM texture export. So it's cool and just delete the section here. Now we have mesh, base color, machine name, and base color, then color space. And after that, you didn't. Let me go back. Change that to the eye and go to accessories. Here. We can't see their full name because that's some weird thing that substance painter doing. We can't move this and see the whole name, but it's obvious here that it's not obvious at all. So we changed it and export. Let's just delete the texture set. Like so. Or maybe let me, let's not do the ads and the actual default export settings. So I'm going to move that back to the default. Then right-click duplicate that and I copy. So now let's delete them. Texture set only. So it's going to be under Mesh name on the line and channel name. It's delete them all. Also. If you are not happy with your 2D model name, you can put whatever you named dad you want here. All right, here. Now we have emissive, heightened normal roughness, metal illness and base color part. We already, we also have the SSS. So let's create a gray value in new gray. Copy the whole name, paste it here, and call that S, S. S. Alright, now, let's go to the input map. Here, look for scattering. Drag and drop it inside gray value. Switch to create channel. And now it's tick. It's going to be checked. And let's sit. Now you have your S, S, S exporting. And also you have your where is it Here? Flight up type based on output template, and this is our output templates. So let's change the base color, that it be on PNG. So 8-bit. That's not a problem for mental illness, roughness and height. Let's change them to tiff and 16 bit T if 16 beat and height. Alright. Emissive, yeah, it'd be in PNG, doesn't matter. And SSS also tiff 16 bits. Alright, now, let's go and save, change. Sport. Again. Let's switch to our new AI standard copy. Alright, now, let's export. Now as you can see when you are exporting kitchen underlying normal and then you didn't title. Right? Let me see if it finished. Alright. Now, as you can see, we have all the base colors. As the continuous one shader. You didn't tie one to 62. And also for the emissive here and wholeness, Norman and all of the channels. So definitely for exporting. And you can create your own desire export template. So let me rename that a copy and that copy S, S, S. All right, now we have a new and different export template. So that's that. Now let's discuss a little bit. Talk a little bit about the rendering inside the subsidiary painter. As you know, we have environment, environment map for lighting. I set that to default. Environment light, lighting insights of steady painter. And we have some settings here, such as camera. It's on 47, the default camera that I set inside my 3D software. We have some post effects such as color correction. Let me enable that. Here. Saturation, contrast and brightness, and also temperature. Let me disable that. And depth of field. Tone mapping, rough exposure, and gametes. Alright. Layer. It's going to be enabled for our metallic parts, as you can see, it's going to be like this. For some dreamy, seen a little bit of vignette here. And also learns a distortion. Something like this. Alright. We don't need all of these. And below this we have color profile. Let me see. It's going to be fake. Color space. I already said that two or seven or nine. Let me change that to, for example, here. Let's cycle through them. This actually looks nice. You have control over the white point as well. It's little bit cartoony look. And here we have a bunch of them enabled for us by default. And you can make your own or download some of these color spaces. Alright, now, below there, if you don't have any teaching at so in order to run their insights subsisted paint here, you need to hit this button up here. So let me hit dads. And yet it may change the max time to 1 second. It's going to warm up. Alright, now we are entering in camera one with this settings. We have Render Settings up here, as you can see, mean sample and makes sample, the max destination sample, desire text, sample. And next time. Also save Render, share towards chain and also some display eliciting. Those are same as this part is setting that you having insight. Painter. And also some shaders setting, such as displacement setting and also subsurface scattering setting. But the important thing is up here means I'm pair, let me set that one. Makes sense to Dallas. And and the only thing you need to do to, in order to render it is to set the maximum time. I'm going to set that to 600. And it's going to be rendering again or continue rendering. Also, let me switch back to 1 second. We are rendering at 1920 by 1200, so that's not right. Let me overwrite the viewport setting by adding ten AD. Alright. Now we are entering into NAD. Yeah, it's good. Insight D here, focal view. Let's set that to 50 or maybe less, 40. Maybe it's 35. This is your actual full view in the real-world. So yeah, I wanted to see the breadth and depth here and also the handles of the fridge here. Now let's set that to 600 or ten minutes. Ten minutes up here. And it's can see we have iteration 1 thousand samples or rendering time. And if the rendering gene, the rich details and sample before reaching the ten minutes, it's going to be done. And it's going to be done up here. Or the other way. If for each d ten minutes but not reach the 10 thousand or Dallas and it's going to be done as well. So keep that in your mind. Yeah, that's it. I'm going to let the I re-render the scene and come back to you in the next chapter. So CEA. 48. Thank you: Alright guys. It's all there. It's done. And I want to say, thank you for watching this course and hope you enjoyed it. And also, don't forget to go back and leave a comment and let us know what we can do to make better course for you and better materials. So don't forget to practice and yeah, have fun. Good luck.