UV Mapping Bootcamp Master Unwrapping & Texturing in Blender

1. Course Intro UV Mapping Bootcamp Master Unwrapping & Texturing in Blender: Stretch textures, misaligned maps, distorted checkerboards, I've been there, and I've built the scores to fix it all. Hi, I'm Luke. Over the last five years at Fred Tutor, I've created stylized diam sines and expansive environments you can run around in building not just the art but the UVs that hold it together. I wanted to create an all in one UV focused course to pass on everything I've learned about clean, production ready and wrapping in blender. This is a UV mapping boot camp, master and wrapping and texturing in blender. A complete 12 stage journey through every major unwrapping technique. From beginner basics to complex asset preparations. You will learn Smart TV projection and manual seam workflows, plus cube cylinder and sphere projections will dive into textile density, mid map padding, flip normals, distortion fixes, and unwrapped strategy across barrels, mushrooms, crates, stylized sins, terrain, and even humanoid characters. This course doesn't just follow results. It explains the why behind every UV decision. You learn the real production style and wraps that stand up in blender, unreal engine, and substance. The resource pack is included, and it is a master blender file with all 12 stages of the course, giving you structured hands on practice to sharpen your UV skills on every type of asset. I've compressed years of trial and error and real world fixes into this one focused bootcamp. So you can stop wrestling with UVs and start designing with confidence. So let's de mystifye wrapping one asset at a time. Enroll now and start mastering UVs in Blender today. Oh 2. Mastering UVs Mapping Textures with Precision: Hello and welcome, everyone to UV mapping boot camp, Master and wrapping and texturing in Blender. All right, so let's get into the basics and go over what exactly are UVs and how we make use out of them. So firstly, by definition, UV mapping is a process projecting three D models onto a surface of two D space so that you can apply textures of it. Essentially, if we have a look over here, we get ourselves a model. We're able to texture it using the UV coordinates, which then applies the texture onto a three D mesh. What do the UV mean? Well, U and V are basically X and Y coordinates. It is within a two D space and honestly, I'm not sure why they're not just called X and Y coordinates as is, as there would have been way less confusion, I think, if that would have been the case, but it is what it is, and essentially U is going to stand for a horizontal, that's going to be V is going to be a vertical, and everything in here is going to be this space over here, giving us this nice little square we have, like so. So why are UV coordinates important? Well, in order to texture the object, we need those coordinates. Whether it's color, roughness, normal maps or anything else, they're going to need those coordinates in order to determine where to place the textures on a free D object. So, for example, for this lantern over here, we used not only roughness, normal, base color and metallic, which is the standard for a PBR material. We also used emission, which allowed the lantern to glow whenever it's placed within a certain scene. But all in all, all of these texture maps used this same UV spacing that we see over here, and all of them can be located in the same sections. So even though you can see the information changes based on what it is, if it's, for example, base color, metallic, you can still see that the placement of these objects are still going to be located in those same identical locations. So whether it's base color, metallic, roughness, et cetera, et cetera, they will still have those same locations within that same box we talked about. Now, going back to the Vs, they can be represented in a huge variety of different ways. There is no proper, correct answer to them. If we have a look over here, we can see that, for example, this barrel only used this amount of space because it was shared with different objects. We're going to cover that later. Or, for example, we even have this kind of a setup which goes outside of the normal UV space. You might have heard that like, Hey, it might not be correct to have a UV coordinates oxide of the UV space. We're going to cover that in the lessons further down the line. But all you need to know is that at the end of the day, if it helps you generate exactly the desired results, it's going to work out quite well for you. The only thing that you need to be concerned whilst working with that kind of stuff, are bad UVs, which can be stretched out, broken textures, if we have too many little parts. Good UVs usually are clean, which means that they're not overlapping or not way stretched out, consistent, which would be something to do more with texture density, which we're going to cover that in a bit and professional. So professional, what it means essentially is whether it fits the right scenario. And again, we're going to cover that part a little more down the line on what kind of effect we can get out of UVs, essentially, how to get from point A to point B in the shortest amount of time. So we're going to get the best result in the shortest time. The UVs are the cornerstone, I think, for any game asset VFX, animation, all of that will need to use UVs. Even procedural materials will need a certain amount of UVs if we're using that data, although that can be a little different if this, for example, uses a projection based setup or whatnot. But again, most of the setup will use the UV coordinates or texturing. And we're going to go back to the procedural materials once we reach that point. In terms of real world analogy, you can imagine yourself wrapping a football with a single sheet of wrapping paper. This kind of analogy might help out. We're going to go over different analogies as we go further down the line, especially for more organic or more hard surface type of modeling. But here is a perfect bit of explanation that essentially we're going to need to in order to turn a freed object, we need to cut it and fold it just like a piece of paper properly, or we'll end up with, well, crinkles and in our case, what we talked about before, stretching or bad textures. My main examples will be making use out of blended specific setups. So in that regard, the software allows us to edit and unwrap a model, just like most of the free D modeling software these days. This process can be either automatic or manual. We're going to cover both of these techniques. The procedural would be more for things like geometry nodes and whatnot. But once you understand the basis of UVs, I think it will help with the procedural understanding as well. We will talk about visualization of UVs, how to make use out of checker maps, and such. Well, again, for distortion and stretching to make sure our setups are clean and neatly set up. That's going to be it from the first lesson. Thanks so much for watching, and I will be seeing you in a bit. 3. Essential Blender Navigation & Duplication: Hello and welcome back everyone to UV mapping boot camp, Master and wrapping, and texturing in Blender. Before we get started onto the setup, we're going to need to make sure we have the downloaded file, which is going to include within the resource packet, it's going to include a blender file. Make sure you extract this file and zip it, and then afterwards, you're going to get this file which will include all the necessary setup. But before we go over everything, I'm going to play a quick introductiony video to familiarize everyone with the basics of blender and how to navigate within the setup. So without further ado, let's get into it. Welcome, everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are and just click the Z axis, and now we can actually see. So how do we actually move around the blend of viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if are over here, it's the zoom in and Zoom out. I can actually left click and move these up and down then to zoom in and Zoom out, or I can use the actual mouse to actually zoom in and Zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now the next thing we want to discuss is actually rotating around an object. So how to do? First of all, we'll bring in a cube with Shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left or right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel out, you will see now if I hold the middle mouse button and turn left and right, we're actually rotating then around the cube. And this is important because if I actually bring in another cube, so if I duplicate this cube with Shift D, move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So it's fix that, press the dot button again, zoom out, and now it can actually rotate around this cube, as well. Now let's look at something called panning, which means that we're actually going to move left and right. And we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do how to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. So again, remember we're looking at the Yaxs, the X axis, and the Z axis. If we come to our Yaxis and click that on, you will see now that you've got a front view of the Y axis. If you click the X axis, then we can change it to that red X axis, and finally, the Z axis, as well. Now, there are other ways as well that we can actually look around the viewport, and these involve using the actual number. If I press one on the number pad, it's going to take me into that white axis or front view. If I press two, it's going to actually rotate that slightly. And if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way, as well. Now, to go into the side view or the X axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top, as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird's eye view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and YXs. So, for instance, if I press one, I'm going to be going into Y axis. If I press Control one, I'm going to be going into the opposite side on the actual Y axis. Can also find these options just in case you forget at the top left hand side here under view. So if I go down to view and go across the viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five, a number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural and realistic viewpoint with objects appearing smaller as they get further away. Mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance, useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing the little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. You're working on a laptop or something like that or a tablet and it doesn't actually have a number pad, you can also use, if a press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view. We can actually click the back view. And we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction, there are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot B to zoom in. So I can grab this one, press the Little dot B, and that then will zoom us in. The other great thing about this is we can also come in, Shift select them press the little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone. So I hope you enjoyed this short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks, lo, everyone. Cheers. 4. Advanced Unwrapping Mushrooms to Trim Sheets: Hello and welcome back everyone to UV mapping, boot camp, Mass and wrapping and texturing in Blender. Now, once we have the file, the resource pack doloaded, we're going to get ourselves this blender file, which will include everything that you need. All of the sections are easily split up, and we can see each one of them by just clicking on this button over here like so. Now, I must mention that to make it easier for us to go through this entire setup, I did make some adjustments in comparison to the lessons just to make it easier for you guys. And that is mainly I made the walls unselectb. So if you do want to make the walls, if you want to select them, what you need to do is you simply can go onto the upper right hand section, go onto the restriction tab, make sure this mouse is ticked on. And then afterwards, when you go into the folder, you can just locate the walls and tick them on if you want to. But honestly, you will not need to. It's just simply easier to make selections when you're doing it like so. And yeah, we can go through the sections together. So firstly, we have the surface area exercise, which we're going to use to visualize how the wrapping happens. Then we got ourselves a little bit of a talk about automatic UVA wraps. Afterwards, we go into different types of projections based of spherical projections, cylindrical cube projection, all of that good stuff. Then we start going into the troubleshooting section. So we'll go over how to fix more commonly seen issues within UVN wrapping, especially within blender itself. Then we'll talk a little about the difference between surface area and just the volume and how we can negate some of that low resolution that we get from a high surface area type of a mesh. Afterwards, we're going to talk more about organic UVN wrapping, which is going to be nice with this little mushroom over here. We're going to move on to the section of more tilable type of unwrapping with custom shapes. We're going to touch into how to unwrap well, a basic rock and how to set ourselves up with nice tiles for specific shapes. If you can imagine, like, a roof, that sort of stuff, that would be pretty cool to know. I think that's quite a needed knowledge when it comes to unwrapping. We'll go into making use out of directional noise versus just a common type of noise, such as metal over here. We're going to go all into that detail and what's the difference when the grain is going just one way versus just like some dirt type of grunch where it's just scattered all over and how we can adjust our mentality for, well, UV and wrapping when we know the type of material that's going to be applied within that specific section. In this section, we're also going to cover a couple of addons, free addons, that is, they're going to be UV squares to help us to kind of make UV Island into more of a grid setup, and then we're going to cover magic UVs, just to learn how to copy and paste UV layout from one object to another. Later, we're going to talk about beveled barrel section, which is going to be mainly showcasing what can be done and what cannot be done when we're using bevels, how to unwrap certain parts when an object is already beveled, or what kind of expectations we need to have when we are just unwrapping a mesh when the bevel is used with a modifier stab. Then we will go on to zero to one UV space. In this part, we're going to cover the atlas setup, basic material type of square setups, and we're going to unwrap our little scene with a piano, bookshelves and the books itself, and a plant next to it. We're going to cover that whole miniature type of environment by just using one material of an atlas. So we're going to learn how to do that. Then next up, we have human unwrapping. So this one is going to teach you how to unwrap more humanoid type of shapes, what we do for creatures and whatnot, all of that good stuff within human wrapping section. Next up, we have ways for negating some of the UV and wrapping type of issues when we have a bigger type of mesh, such as this terrain over here, what can we do when we need more resolution of our objects? So this part will show you how to make use of vertex painting to overlap multiple seamless texture, and even though we're going to use one simple UV and wrap we're going to learn how we can get most out of that U V island to texture larger objects. Then next up, we're going to learn a little bit more about procedural materials and masks, meaning that we're going to basically go over the basics of how we can adjust whether it's a normal seamless texture or whether it's a mesh that just simply needs more resolution or more detail within it. We're going to learn how to make use out of decals firstly, to add smaller detail and to avoid showing more repetition, for example, out of seamless textures. We're going to go into how to make use out of custom masks for edgewaar, for cavities, all of that good stuff. We're going to learn how to make use out of it both within a procedural generation of cycles render engine, as well as we're going to cover how to do that in real time engines, how we can potentially bake out all of that stuff onto our other meshes. Next up, we have trim sheets. So this one is going to be quite interesting one because make use out of a single trim sheet to add a bunch of detail onto our box set up over here, and we're going to have this claw machine over like So you can practice your skills to manipulate your UV tiles to get unique patterns and to create a design for this low machine that will look great in both high resolution, and it will be quite nicely optimized. Of course, this last part is the most complex. That's why we're leaving it for the last section. But that's pretty much it. That's the whole overview of the entire resource pack. We're going to go through every single one of them step by step until we learn everything that you need to know about UV editing and all the necessary information that you need to know. Well, to manipulate them to get the best results possible. That's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 5. UV Islands, Packing & Texel Density Control: Hello and welcome back everyone to UV Mapping Boot camp, Mass on wrapping and texturing in Blender. Alright, before making use out of the resource pack, let's go over the main concepts of the QV, the main keywords that we should know. And for that, I'm just going to go onto the resource pack. Everything is turned off, and I'm just going to go ahead and click Shift and A, create myself a cylinder, just to use it as an example on what it is. If you're feeling lost at any point, just remember that on the left hand side, you see all of the keystrokes being clicked off whatever I'm doing. So right now, for example, I can click the dot on my keyboard just to focus on this object. And right away, what we're going to do is we're going to go onto UV editing. The reason we're going onto it is because it allows us to essentially rearrange the whole layout of blender for the specific purpose, in which case, it is, well, UV editing. And I'm just going to use it as a basic concept. Again, I'm just going to reposition onto my object. And you'll notice that we have two windows. One is for Fred. Three D view, and another one is for the two D editing. Right now, we're not going to see anything and we might even see an image, which is seen like that from previous selected object. If we want to see the UVs of this object, all we have to do is go on to Edit mode and then we'll be able to see the UVs. I'm also going to go ahead and click on this X button over here, which is going to take off that image that we previously had. We can just start with a fresh blank grid for the use. So these are UV islands. If you're not seeing anything in the viewport, it might be because you don't have the entire object selected. I have this nifty little tool turned on. We're going to go over what it does in later lessons within a troubleshooting section. For now, though, I'm going to go ahead and disable it, and you'll notice that once I disable it, nothing is shown up, and the reason for it is because by default, in order for you to see the UVs, you need to make sure you make a selection. So by clicking A within the Free D view port, I'm making sure my mouse is hovering over the free D view port, I'm going to get those UV tile cells back. And within here, we get the UV shells. So going back onto the explanation, these are UV islands. Each and every single one of them, are considered separate UV islands, and they can be moved around, like so, and you'll notice that even though they are part of the same object, these UVs are split. The movement that we can do by the way within the UV editing space is very similar to what we can do in the free D space. We can click G to move our piece around or selection around. We can click S to scale it up and down. Like so, and we can click R to rotate the UVs. Right now, we're not going to see anything because we have no texture, no material on our mesh, and we're just getting familiarized with the UV editor itself. Next thing that we should know is Seam. Seams are essentially what would allow you to break object into multiple pieces. There are other ways of breaking an object into different pieces. But what SEMs allow you to do is control certain unwrapping functions, and it could potentially give you this type of setup. The setup that we have over here was not using any of the seams, so we're not going to see any seams in here. Going to cover that more in later lessons. The default primitive shapes that we can create within blender. So all of these shapes that we have over here, all of them will have certain UV maps. They are not unwrapped whilst being created. Instead, their UVs, these parts over here are part of the mesh code, meaning that there's no specific unwrap that would just give you by default this kind of setup back. Like, so there's something, for example, like UV sphere, which if we were to go into it looks quite interesting with these parts split up on the top and the bottom, but again, it's part of a code, and we're going to go much more in depth in regards to them down the line. All we need to know now though, is that these primitive shapes have their own unique UV maps, not created by unwrapping process, but rather by a certain code system within the mesh itself. So texture coordinates, we already talked about it on the very first lesson. Essentially, texture coordinates is location of a texture, and we can either change the location of our texture coordinate by moving the UVs, or we can also do that within the material shading itself. Although we're not going to go too much in depth in regards to the shader. We're still going to cover some of more unique uses like atlases or shader generations. Of course, there's going to be more down the line in regards to UV packing. This is what allows us to organize UV islands, to maximize texture space, and minimize empty areas. This can either be done by hand, essentially just moving it within the UV space of 021 or there are alternative spacings that we can do, which we're not going to go too much in depth right now. Alternatively, there are certain algorithm, certain code that will allow us to scale down and put the UVs into proportional spacing to essentially pack everything into one section. So if we were to have all of these pieces scattered, UV packer would move everything into one nice and tidy section. Of course, it would be more tidier than this than moving it by hand. So I'm just going to click Control Z to bring this back. Texel density, you'll be hearing me talk about a lot about texel density within the lessons. But what it is is basically, it's a ratio of pixels on a texture to the size of the model surface in freed space. If we have a smaller UV size, the texture, the pixels that it can make es out of would be a lot smaller. But if we were to make use, for example, out of this entire UV space, there would be a lot more texture density within this section, and therefore, the resolution of the setup would be a lot larger. We're going to make use out of texture density in the later lessons. Now, overlapping UVs, I actually just show you do this. When we overlap the UVs, we get this sort of result where one UV island is on top of another UV island, and it doesn't always have to be different UV islands. Sometimes, for example, we can move some parts of UV chunks or maybe it was not unwrapped properly. They can be overlapping with one another, stretched weirdly or just simply cross across one another, causing you some artifacts for textures, especially if you're using some texture painting program. If nothing is overlapping, we call them non overlapping UVs. Each part of the UV bottle has unique texture space and it is best for baking. This type of a setup is the most commonly found within props, and it's the most beginner friendly type of a UV workflow. So we're going to actually start with that in the next lessons. We're going to make sure we're focusing mainly on the non overlapping UVs, and of course, as for how to make use out of overlapping UVs, there's always options for that. I often hear people say, how UVs have to be this specific way or this specific way. In reality, there is no specific way, and it really depends on the type of outcome you're trying to get out of your UVs. What type of texturing you're planning to do, what type of setup, shader, or even what type of program you're trying to do? If you're planning to set everything up within blender, it would be completely different than setting everything up in unreal engine, for example. But let's not get ahead of ourselves. We now let's go and simply go back on to object mode. By clicking tab, we can go ahead and delete the cylinder. We're going to go onto the layout because that's where the first section will start, not within the UV editing, but within the layout. So that's going to be it from this lesson. Thanks so much for watching, and I will be seeing you in a bit. 6. Unfolding Geometry Seams, Nets & Tiling UVs: Hello and welcome back everyone to U V Mapping Bootcamp, Master and wrapping and texturing in Blender. Now, just a quick reminder, I am within the layout tab over here simply because we're going to make use out of this timeline just for the very first visualization. And before doing anything, though, I'm going to talk a little bit about the, well, visualization. And previously, I mentioned how it's good to visualize UVN wrapping as a sort of gift wrap football, but it's not quite there. A better way to visualize it would be if we were to split it into two ways of visualizing it. So we're going to start with the first one cardboard box, a hard surface object type of visualization. So think about packing when you are unwrapping something like a crate building or Sci Fi panel, you are essentially cutting along edges and unfolding it into flat shapes just like unfolding cardboard. If we were to go now onto our resource pack and open up our first collection over, like, so we'll notice a couple of basic shapes. So in terms of visualization, if we were to click Play, we'll see that the box is being unfolded and unwrapped. So that's the best way to visualize it as a beginner point, just to simply see a shape and imagine how you'd be able to cut along specific edges in order to make it unfold like a certain box or maybe orgami or something of that sort. I think that's a really good way, as a beginner to just visualize your UVs. You essentially want clean flat surfaces with minimal stretching and seams are placed along hard edges or where a real box would be glued or folded. This is ideal for modular acids or tiling textures. Modular meaning that they can be combined like lego pieces or something of that sort just being snapped together. Whilst tiling textures means that even though that we have the zero to one UV space we talked about previously, the tiling texture would allow you to place it anywhere above it or below it, left or right, doesn't matter because when you are outside of this zero to one UV space, the texture itself normally would start tiling on itself. So if we have texture over here, if we have a look at it like so, this texture ends up being in a nice simple square. But you can imagine if I was to go to the left of it, this same texture would start lapping over here like so. So that's what tiling means. So yeah, precision matters. A 90 degrees bevel should stay 90 degrees on UV map when we're looking at this box over here. I was unfolded in the right areas, and nothing is being stretched when it unfolds. And that's exactly what we want with our UV grid. People end up making use out of Smart UV project, but we're going to cover that a little more in depth actually in a couple of lessons. So in regards to the visual tip, People tend to avoid such visualization and tend to get shredded. People tend to avoid such visualizations for hard surface modeling because auto UV and wrap is so easy these days. I'm going to cover that in a bit, but I still think it's important to really get to know how to visualize UV maps as a sort of a cardboard box. In terms of getting more practice in terms of actually visually seeing it, what's it like? I really recommend you doing some maths exercise actually, in terms of the ones that say how to calculate surface area. I do have a couple of tests over here on the side, which we can go over it. And for that, I think the easiest way what we can do is we can grab this corner over here for the layout and just simply drag it across which will open ourselves up with a new window. The reason I want to open up a new window is because I want one section to show a free D view and another section to just go to the top view. The top view that we're going to go is going to be on the right side, so I'm going to hover my mouse on the right side, click seven, and that's going to give us the right side view. Whilst the shapes can be seen more in free D view on the left side. I think I'm just going to move these out of the way so we can get a better visualization on what they are so let's try to visualize how we can unfold them for a surface area. So first things first, we are going to go with this shape. It's not entirely a cube. It's a little bit more alligated. So we're going to try to visualize how it would look like. And I'm going to use, oh, I'm going to click seven again. I'm going to hold shift whilst moving around just to make sure that we're moving it normally. Uh, I'm going to make use out of annotate just to help us out with, well, visualization of the shape. So this shape over here, the bottom is going to be, well, a square. So we're going to start with a square. Again, it's going to be just a simple sketch, but hopefully it'll give you a better idea of how it would look like. Then, we got four sides, essentially the same size, four sides, but they're not going to be square. They're going to be slightly longer. So we're going to make them a little bit longer like so and they should be the same size, so forgive me for my drawing skills. But just like that, we're going to get these sides. And then finally, let's not forget. Oh, I'm going to click seven again. Finally, let's not forget the upper section, which is again going to be the same as the bottom. And for that, we can either place it at the top, bottom, left or right to attach it to either one of the sides. We could even technically have it on the side just like that. But for the sake of just having everything combined, I'm going to place it on a side, just like that. And you can visualize that this shape would be unfolded into this. I did actually pick this, as I said, previously, pick this up from my math problem, so this is what over here. And it wasn't the same type of shape exactly because it was a bit longer in this direction. And you can see that this is not exactly a square. But even so those surface area exercises, I think, are really important in helping you to visualize how the shape can be unfolded and how the UV UVs would be unwarped. Next up, we got this pyramid over here. So I'm just going to move this downwards a little bit, like, so just to kind of have more space. We can still see this pyramid over here. The bottom is going to be a normal square. So just a normal square, let me just make sure my drawing skills are a little bit better, just a little bit, though. Then we have, well, these shapes over here, triangles. Which are having its sense centered in the middle. So if we have one like so, we're going to pretty much have that exact shape, and we have four sides of it. So each one of them is connected to the bottom piece, so we can do all of these tringles to be connected to the shape. And as for the top, there is nothing there because, well, the top, all of it end up connecting to the sides, like so, essentially folding it upon itself and giving us this nice permit. This permit would be this one over here. Again, a nice surface or calculation. Really helpful when it comes to this type of stuff. And finally, we have this type of shape. So what can we do about this shape? Well, for Saras the bottom is a bit more longer. We can go ahead and do that. So a little bit longer of a bottom, like so. We then have some triangles. Like, so this type of triangle, sorry, let's not rush up too much. This type of triangle, if we have a look at it from a side, is going to be, well, just going straight up 90 degrees type of an angle instead of the previous one, which we had with the pyramid, which was more tip of it was more centered to towards the middle. This is not the case for this one. This is a 90 degrees type of setup. The other side, we need to also visualize that this is going to be essentially mirrored. So this side and this side are going to have the same type of triangles. Let's just make sure we have a paropl position like so. And then finally the backside and the front side. So the backside would be rather easy, I'd say, it would be basically the same shape as this one over here around so the front, however, will actually be a little bit longer, and the reason it is a bit longer is the most favorite equation by everyone, A squared plus B squared equals C squared. This is the triangle equation that everyone loves, meaning that essentially this longer area, if I was to just position the triangle a little bit to the side, so this longer area, the area of it would be equal to the sides, it's a little bit of a random mathematical equation, but even so all of that a little bit larger, probably like sew. And that's pretty much it. It only has one, two, and three sides, giving us these three sides, like sewing, of course, two at the side, the two triangles. And that is going to be this part over here. Again, surface areas, very useful stuff. That's going to be it from the first exercise. Now we can go ahead and close down the tabs. So what I reckon I'm going to do is I'm going to hover my mouse over in the middle, right click and join left just to make sure that we're getting the same setup as we had previously. I'm going to just move my mouse and it's going to go out of the top down view. If you are working on the same annotations, just make sure to go on to annotate eraser and just simply start erasing it. Whilst holding your lap Mouse button, you can use your mouse wheel to make it larger or smaller this setup, like so. So thank you so much for watching, and I will be seeing you in a bit. 7. Fast UVs with Smart UV Project: Hi, and welcome back everyone to UV Mapping boot camp, Master wrapping and texturing in Blender. Now that we're done with the service area, let's go ahead and hide it out of the way and move on to the next stage. So this is automatic UV and wrap, and it might be at first glance, a simple thing. After all, automatic UV and wrap is the most commonly used, and it's the most basic of the setup. All you need to do realistically is just press one button and it will do it for you. But in order to actually make a full use out of it, it's important to understand how it works and where the best uses are for it. So first things first, let's go ahead and make use out of this setup. We have a simple box with no material and a material shader in the back with a simple wood texture. We can go ahead and start applying it onto the crate itself. So for that, I'm going to select the box and find a wood crack wood texture, like so. And right away, you'll see that nothing is here because all the UVs are essentially non existent for this create. So for us to get the UVs, to make sure that we are getting that texture as seen on this sphere, all we need to do is just simply select the box, go on to editing mode by clicking tab. And selecting all of the faces by clicking A. That way it selects everything within the setup. Then we can click U for unwrapping. And you'll notice that we use U as a shortcut all the time. It's a really nice shortcut within blender to make use out of, which has a whole menu of unwrapping. We're going to go through them one by one. But now we're just going to focus on SmartTV projection. So that's the automatic UV unwrapping method. We're going to click on it. We get ourselves a menu. This menu, we can leave it on for now, because when we click on it, we still have this menu on the bottom left hand side. As long as we don't do anything in regards to well, going out of editing mode or selecting different selection, we're still going to have this SmartTV projection window over here. If you're not seeing it, you simply might need to expand it by clicking on it, like so and right away, you'll notice that we are getting textures nicely placed within our well, box, just to make sure we are seeing it properly, I'm going to go ahead and just click this icon off, which is going to take off the overlay for the editing selection. We can see that the grain of the wood is going nicely in all the right directions. So before we actually touch all of this menu, let's simply talk about the automatic V and wrap. So what is automatic V projection? It is a UV projection method where software automatically generates UV coordinates for a freed model based on its shape, and it is without needing to manually mark Seams or guide the unwrap. This is key over here. It does not use Mark Seems. We've not touched this just yet, but essentially Mark Sims is going to allow you to control how an object gets unpacked, and automatic V and wrapping does it based on its own algorithm, so it does not use it, which is good because it lets you do it faster, but it also is bad because you don't have as much control. Even so, it still does have a certain bit of control. So let's go a little bit about what it does under the hood. It analyzes models geometry, specifically the angles between the faces. The past, it was more of automatic UV and wrapping. What it did was basically, if I was to just quickly go onto this example, it was doing certain projections from different angles, and that was pretty much it. By default, for example, I believe I remember doing it in Maya. It had four different projections, and you could up that count. To have even more projections from different angles, and if there is an object, and let's say, the projection from the top would pick the faces based on that object. When there is another projection, it would also pick the specific pass to project the UVs from A three D space. Now it works a little bit differently, meaning that we have something called angle limit. It's not going to work quite as well on this box over here, which we're going to cover why by simply going and opening up the sphere. So I'm going to go on to adding mesh, going on to object mode, clicking Shift A, and selecting UV sphere, which is going to create me a nice little sphere. That way, we can talk a little bit more in regards on what this does. U V spheres are great in previewing certain parts, but they're not perfect. We're going to touch them. We're going to cover them a little bit better in lay the down episodes. I'm just simply making a simple sphere with smooth shaded surfaces. And let's go ahead and apply wood over here. And this is the default type of sphere that we had over here in the corner. I'm just showing you how to set this up from scratch. So if I was to select it with in edit mode and click U Smart TV projection wrap, that's what's going to give us this type of a setup. Now, its analyzes the angle, so we're able to use angle limit to tell at which point it starts creating a new UV shell. So if I was to put it up to a maximum, which is 89 degrees, it will try to well, start off from a certain point, which is usually from the top. Let's say if I was to make a selection over here, this is the top the program would start the projection from here, and then once it starts going downwards, it would try to detect the angle at what we were unwrapping and because it was angle limit of 89, once it reaches that limit, it would end its projection and create a new projection elsewhere. And that's so it essentially works with the setup if we start to lower this down, it's going to give us angle limit that's way less, and in turn, the projections needed and the UV shells created are going to increase. So this is how it tects the edges with sharp angle differences, and it cuts along those edges automatically, again, without using seams. In regards to flattening it, it does flatten face groups, and it keeps it somewhat to minimum stretching. In the past, it was way worse. Now, it kind of relaxes the UVs a little bit. Although if we have a look at those specific UVs, it's still not perfect. So right now, we can see that these, for example, parts over here are somewhat kept as squarish. But if I was to unwrap it with an angle limiter that's way higher, so less projections, meaning that it tries to relax the vertices all at once. And you'll notice, especially at the corners, especially at the angles, those parts that are supposed to be squares are now stretched out to be, well, non squares. So these are the distortions, but it does avoid overlap, so it's pretty good in regards to that. If we zoom out, all of these UV islands are being kept separate and they're not overlapping, even when we zoom in, if it looks like it is overlapping, if we zoom in, we'll notice that they're not. So it's pretty good in regards to that. Finally, it preserves the proportions as much as possible. So even if it is warping and whatnot, if we look at the texture, we can see that the overall texture from all of these UV shells are being kept somewhat same. So even if they are being warped, it's still going to give you a pretty reasonable result. Now, we pretty much talked about how it's basically a UV shredder that slices it into logical chunks and lays them out flat. So the pros, it's fast and easy. Simple one button click will give you perfect background assets or early testing type of setups. So even if we have this default, for example, sphere, by default, you saw that at the very top, they're getting squished up and here, we have those general setups. Even if it looks like a jigsaw the grain, for example, maybe we wanted to keep it as it is, and we're still going to get this overall nice pattern not being squished up at the top or anything like that. So it might be better to make use out of it as a quick and easy type of methine. It's great for hard surface objects like mechanical parts. So this is quite an important one. Hard surface objects like mechanical parts. The key here is that it's great for objects that don't have a lot of an angle. And what I mean by that is this sphere over here, you see that it's somewhat struggling with UV and wrapping and whatnot in regards to making it less like a jigsaw. But if I was to create a cube and put the wood that we have over here, so it's going to give us a nice pattern if we unwrap it and projected to setup, so a nice little setup just like that. The key point here that I would like to make is that it's not based on the complexity of a mesh, although that somewhat matters, it's mainly to do with how many angles the object has. So even if I was to right click and subdivide it to something quite complex, like so, and I was to try to make a smart TV projection, it's going to give us all of these cubes over here, but even so, you'll notice that these cubes are separate into four or six different chunks just like that, meaning that they're being quite nicely set up. The problem comes when we try to complicate this mesh. And what I mean by that is even if I was to well, if I was to make it just a little bit more complex by just lowering this, it would still do right if I was now to SmartTV project. Now, you can see that the angle is warping over here, so we definitely need to re inwarp it. And there we go. It's going to give us nice little setup. So it's still right. The problem becomes when this angle variation is more different. So if I was to select this edge over here, move this over here, like so, and then use beveling, like so with lots and lots of lots of detail. Maybe profile shape, I will increase it as well. Then we can we unwrap it, like so and based on an angle limit, it might still be okay. But you'll notice that once we start lowering this down, it'll start struggling with this specific part, or maybe it's not. In this case, maybe it's not. So I'll go ahead and just add even more detail over here. Like so now I can go ahead and v and wrap it, and this part will definitely start causing some issues. We can see that it starts breaking up a little bit more. And this is only, again, for one surface, but you can imagine, if we start getting closer and coast closer to something that's more like spherical, that's softer edges. You can imagine that it's going to get more and more complicated or automatic VN wrapping to be done. That is why for something like this crate, where it has basically just mainly 90 degree angles, even if it has, like, lots of planks and whatnot going across, it's still just mainly flat surfaces, then it's going to start doing it quite well. You'll notice that if we zoom in, we do have some bevels over here, and those bevels are going to be mainly those parts, like smaller parts and whatnot. It is going to get a little bit of some issues. But because they're so small, these bevels, we don't really care about them. So even if we have small bevels for an object, it's still going to do pretty well. 8. Smart UV Tweaks for Better Painting Results: Hi and welcome back everyone to UV mapping, boot camp, master and wrapping, and texturing in Blender. Let's continue on for this. So again, many marking seems even if we have anything marked up, it's not going to do anything. So that's something to keep in mind. Then it is a good baseline for light maps, tiling and procedural materials. So one of the things is, even if it's not perfect with layout, if we have a seamless texture like this wood over here, I can even preview this wood just searching for wood, correct wood, so you can see how it looks like. So this type of wood, we can zoom scale upwards, like so, and it doesn't really matter how much we scale it's still not going to be an issue because this would is tilable meaning that whatever is at the top is going to be identical to the bottom left and right, vice versa. So it makes it super easy and simple to do. The only downside is, if we start scaling it up too much, we're going to start seeing well, repetition, so we need to avoid that in regards to automatic VN wraps. Going to go over how to counter that way later down with the vertex painting mainly, but let's not get ahead of ourselves. In regards to the QVs, I'm just going to go ahead and do this a little bit. Let's talk a little bit about why it can be so bad. So Cs usually produces a lot of small UV islands. So again, this is especially true when we have some bevels, when we have softer angles. If this was just a simple type of a cubic plank, it would have been way better. So for example, one could do bevels using a modifier. Modifier bevel would allow you to keep that 90 degrees angle whilst UV and wrapping. If the bevel is not applied beforehand to champer off these edges, it would work quite nicely overall. But again, even with those UV chunks like soap, visually for something like this wood is still going to be pretty good. And the other thing is harder to paint on programs like substance Baer. So this is quite important over here. Something like basic previews or just singular props and whatnot, it might be okay. But the key issues here. The first most important one is that UV and packing is not going to be the greatest. So for example, over here, we can see that it produces lots of holes, and we have some empty spaces that could be filled in, and in turn, the texture density is going to be a lot smaller in comparison that if you were to make it with less chunks, less unwrapping, and whatnot, these parts are going to matter when texturing. Especially if you're trying to have larger props or more props within the same texture, that is definitely going to matter in the long run. The other thing that I'd like to mention is that, well, the distortion might play a huge part in the texturing setup right now because it's wood, it might not be as visible for those warps that we have in corners and edges and whatnot. But even so when texturing, that can play a huge part just the quality of the well the acid. And one thing in regards to that is that in the past, it was way harder to well, get the right type of orientation. We're going to cover a little more in regards to orientation down the line. But for now, what we need to know is that in terms of orientation, not only can we not control realistically the rotation of these placements for the UVs, even though realistically we can rotate them afterwards, so it's still important to know that in the past, it was way harder to make sure that these placements of UV islands are placed in the right direction. For some materials like stone, it wouldn't really matter because they would have this neutral type of grunginess, so it doesn't matter which rotation we are taking. Something like wood or maybe stainless steel that has a grain, it might matter. So something like wood over here, if I was to rotate it, neither degree still notice that right away, like, what's going on here? Everything is rotated. This is not supposed to be like that. And that's the key thing over here. We need to make sure that it's placed in legated type of way. And the way to control that is if we click U, the Smart TV Project, there is a rotation method. So rotation method, you can select it, for example, to be horizontal, which will give you horizontally. You can select it to be vertical, or you can select it to be axis aligned. So all of these are just gives you additional controls. Of course, alternatively, you can also control it afterwards by just rotating it. But all we need now to know is that you can use rotation method to get it properly set up. And what's key here is that it really depends on the length of, well, the face or an island, I should say, because in props that have the same sizing. So let's say the usual cube over here, if I was to unwrap it, it's going to give us that rotation which we're not going to be able to control. So if I was to unwrap it, we can't control this to be going sideways or both of these parts to be going sideways and whatnot. But if I was to make this longer, like so, now this part and this part is going to be facing has that same kind of length. So if I was to unwrap it, both of these parts will end up being placed like so. But again, the front or sorry, the sides in this case, are going to be rotated at random. So what I'm trying to say is that automatic VN wrapping works especially well when there is no just default type of cubic setup, and it has eligated parts. So even parts over here on the side, we can see that they're not just simple squares. They are longer, meaning that this is going to be oriented the same as this wood over here, which is perfect for something like wood as we do want these to be well, sideways. We wouldn't want them to be horizontal. I don't think it would look quite right if they were rotated like this because the main part that's visible is going to be aligned with this part at the side, and it just kind of visually breaks off the overall aesthetic, I believe. So in terms of the controls, we still have a couple of controls. We have the main one that we would like to touch is island margin. Make sure you have this never set a zero if you are using this by default and use a value of something like 0.02. Just to make sure we're getting some gaps in between the UVs. This will avoid any of edge bleeding, which we're going to cover in a little bit later. But just make sure not to overdo it because if you're doing it too much, it's just going to take off the how should I put it? It's going to take off the resolution from your UVs because everything is going to be forced to be smaller to fit within that zero to one UV space. You can see if I was to increase it to something like this, resolution of this box is going to be much much lower. So that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 9. Cube, Cylinder, Sphere Projection Techniques: Hello, and welcome back everyone to UV Mapping Bootcamp, Master and wrapping and texturing in Blender. Last time we left ourselves off in this situation, I'm going to go ahead and simply delete the access that we had and move on to the next step. So projections. This is going to be an interesting one. As a quick little tip. If you want to apply multiple materials all at once, you can do so. We can go ahead and select all of these parts, hold control, and just deselect everything that was not these little objects over here. Then afterwards, we can just have holding shift, select one of them like so to make sure one of the selections is the main one, which is orange. We're going to go ahead and select it to be wood, like we had previously, just to help us visualize what we're doing here. And if we want to apply the same material to all of them, we can click Control L. And link materials just like so. And now we're going to talk a little bit about the projection. So the next thing that is on the list is going to be we hit if we select the last or sorry, the first object on the line, we can go ahead and select it with an edit mode. Click A to select it all. Click U, and we're going to go ahead at cover Cube projection, cylinder projection, and sphere projection. So these ones I consider to be somewhat outdated, to be honest, but even so it's still pretty good use in certain cases. Let's go ahead and have a look at them. Cube projection. So this type of projection will allow us to essentially project from the top and sides like so, giving us this type of well, projection, and it's going to be looking just like this if we zoom in, going to notice that it looks somewhat similar to what we had previously with automatic view projection. However, in this case, it's going to look different because if we click L within the three D space by clicking L and selecting delimiter as UVs, so we're going to see the type of projection. So starts off from the top. Usually, that's the first priority, and then it kind of fills in the spaces in between the sides and one for the bottom as well, just like that. And this is pretty good when we want to have more of a squarish type of an object. We can do square project, cue projection. It's going to give us nice little setup. It might not work as well for organic or for more curved type of setups, but it's pretty good when we want to just get a general UV is done fast and if we don't mind them being overlapped. The one thing I would say when using this is that we have some options. So cube size will allow us to scale the size, but we can honestly do that from within the setup. Scale to bounce would essentially mean that if it goes outside of the zero to one UV space, it's going to go to the parts. There's also clip to bounce, which is more interesting because it basically keeps everything within the UV space to be part of the section. But once the UV start going outside of the zero to one UV space, it gets stuck at the edges. So that's why if we have a look by changing the size, we can start seeing that, it basically stretches it out, which might be interesting use in certain cases to get perfect square, for example, to stretch out some of these vertices, like so. Again, it's somewhat of an outdated. And most of the cases, you would end up using Smart UV projection instead. Cylinder projection. This is an interesting one. You might consider that, Hey, it's perfect for cylinders. Well, not really. What cylinder projection does, if I was to select it and use UV cylinder projection, it's going to give us this. Well, what's happening over here? It's quite messy. We don't want this. First things first is that we need to consider the direction. Right now it's set as view on equator, but if we just set it up as a lined to object, it's going to basically start the projection with the centerpiece of the object itself. And that is, I believe, from the origin point of the object, which is this orange dot over here, the more zoom in, the less is smaller it gets. But if I was to try to move this out to the side and then redo the same projection, I believe it's going to give us a little bit different type of projection. So having the origin point set to geometry will most likely give you the best outcome depending on what outcome you want to get. The other thing is, again, this doesn't mean that it's perfect for cylinder projections. It means that it goes all the way around. So if I was to go on to our trusty screenshot of just a simple axis. What it means is when we have an object, let's say, something just a blob, it would make a rotation all the way around like a cylinder and basically it would make a sheet that would project it across. So the top and the bottom would not have anything in regards to the projection, or rather, we can see that these lines are what's causing this projection. If I was to delete the top and the bottom, we would get these lines deleted. So if I was to just delete these faces, we can see that now we have a perfect projection for the sides. The other thing that we could do potentially in order to avoid that is if I was to just mark UV project the top and the bottom, we'd get perfect tops and the bottoms and then cylinder projection for the sides. I'm holding Alt and just selecting everything around it, so just for this because the UV mapping works based on selection, we can go ahead and do cylinder projection just like this and we get this same setup. Now, if it doesn't always work, you can change the alignment from polar Z X to Z Y and vice versa. Although if the object is rotated, let's say, if we have something like this, and we try it, you'll notice that it doesn't quite work the same. So if I was to use the cylinder projection over here, it's going to give us this result. So just make sure you have it rotated accordingly, unfortunately for blender that's the way it works. I believe some software would give you a better visualizer or more control over such projections. Again, maybe because it's the Smart TV projection or other unwrapping algorithms are doing quite well. These primitive type of projections might not be needed as much, but it's still pretty good to know when you are unwrapping bottles, for example, or pipes, maybe, it's just a good alternative to know in case all the other UV projections fail. The final one is going to be sphere projection, and you might think that you're going to get something like this where we had it on a default UV sphere. Unfortunately, that's not the case. If I was to project it, actually, this one already had this type. If I was to do sphere projection, it's going to give us this type of result. If I was to change it to SY, it might be a little bit better. But essentially, it tries to be, well, very similar to what we had with cylinder projection except in this case, our object, that if we were to have it like so, instead of the usual type of a cylindrical projection which we had previously, this one would be more of a curved type projection. So you can imagine it going all the way around 360 degrees whilst maintaining that curve, and it would basically make the projection like so. Us this unique result. Sometimes it's good, sometimes it's not so good. Sometimes it might even look quite messy. Even so, it's pretty good. I will align this to an object, like so, and there we go. That's the default UV setup that it has, and it's going to give us these pinched up corners at the top. When it comes to well, topology type of cubis objects, if we were to use it, it's going to give us around the same result as we had for the cylindrical projection. However, it's the top is still going to be an issue. Even if we were to change it alignment, it's still going to be off. We can try to negate that using pool fan. Sometimes it helps to well, change up how the UVs at the top behave, especially for something organic like this setup. So if I were to change it to from pinch to fan, you can see the type of result that we're getting. And actually, I believe, yeah, this fixes it the top. So you're going to get the default type of sphere or very close to it because as mentioned previously, it uses more of an algorithm rather than the projections that we see, but there we go, we get ourselves the fix at the top. In regards to cylindrical, it's not going to do anything for the top bottom because they're flat surfaces. And unfortunately, if we want to control it, we would have to rotate the object, the it degrees to then v and wrap it. Alternatively select only the ones that have issues and UBN rapid when we rotate them to get a better result. So that's going to be it from projections. We're now going to move on to troubleshooting stage, which is going to be making more sense when all of the UV information comes together. So thank you so much for watching, and I will be seeing you in a bit. 10. Fix Stretching Apply Scale Before Unwrapping: Hello and welcome back everyone to UV Mapping boot camp, mass and wrapping and texturing in Blender. So we finish ourselves off with the projections. We're going to go and move on to the next stage, which is going to be troubleshooting. So we have few props for this example. We're going to start off with the windows in the back. And first things first, you'll notice that it might look a little off in regards to how they have these materials. Firstly, these materials are set up with procedural generation. All we need to know is that if we go onto cycles View, changing it from EV to cycles, we will get ourselves some nice edgewaar and whatnot on these windows. Even if they are procedurally generated, this particular type of window would still require some UVs to work. And for that, we would still need, well, to sort out the UVs. If we were to go back onto the material view because it's not really advisable to do any type of editing within cycles when we have it like so unless it's small tweaking, because it's going to be slowing down our computer. So what I'd like to mention first things first is if I was to try to select both of these windows, try to go onto the selection and just unwrap all of them at once. I would allow you to do that. But if we try to do that, so we'll notice that, hey ho, one window is, well, has this type of detail whilst the other window has much larger details. So what is going on with that? Why is this happening? Well, if we look at the UVs, if we go on to Edit mode while having both of them selected, we'll notice, oh, there is a small issue, actually. Let me just fix this up. The island margin is way too large, leftover from the previous setup. There we go. But even if we were to do that, we'll notice that this window is having much different type of result than this window and what's going on? They're using actually the same materials if we have a look at it. So why is this happening? Well, the reason for that is because if we check both of these UVs, I can click L and see that this section is super tiny, whilst if we click on this part, we're going to see that it's much, much larger. So why is this happening we are unwrapping both of the objects at the same time. For some reason, they're giving us much different scale in the UVs. Well, the reason for that is if we click on N to open ourselves up with this little tab over here to go onto items, transform menu, we'll notice that we have some options for location, rotation, and the main one is scale. This is what matters in this case, because if we have a look at it, although both these windows are well, seemingly similar sized, if we look at the scale, we'll notice that they are having different numbers, different values over here. And this affects actually how the unwrapping process is being used because it's not actually checking the object as is, like so. It is actually checking the object how it was, well, created. Or how it exists before the transformations. We can actually reset the transformations to see how it looks like the window. If we were to click Alton S, it's going to reset the size, and this is actually the real size of the UV. So when we are unwrapping this massive window and this tiny window in the back, it's going to, well, try to think that like, Hey, this needs a lot more UVs in comparison to this tiny object over here, and that is why we were seeing those small UVs. This same issue can also be in regards to what's it called rotation as well. So when we are using, for example, the previously mentioned cylinder projection, it has to be Z facing upwards if we're having something like cylindrical over here. If we were trying to rotate an object by 90 degrees, it would still give us that same rotation. It would still give us that same projection. The reason being is that we have the default rotation, um, being a something completely else. So if I was to click Alt and R, we will be able to see what it looks like in regards to the default transformation rotation. So Alts does reset the transformation scaling, Alt R resets for rotation. And if you have an object that's actually, well, tilted 90 degrees or you wanted to use it with projection, sort of projection from one of the items in the menu, you would have to go on to edit mode, and when you are in edit mode, you can rotate this object like so. Then you'll notice that we are not changing the rotation itself now. The rotation, even if we click Alt and R is going to be kept the same because we are actually changing the vertices, the position of all the vertices inside. And the instance that the object is spawning this prop is not going to change. So I'm going to click Control Z to just undo this step like so. The same thing can be done for location, I believe it's Alt T or Alt and L. Sorry, it's Alt G. We don't really need to use that, though, because, well, the location doesn't really matter as much. Again, if we were to use something like ciliar projection, we can just align it to the object, so it's going to be centered to the object itself. The location for that wouldn't matter. Much. So yeah, going back to the Windows. If we have different locations, if we resize it in an object mode and rotate it in an object mode, what we can do in order to apply these transformations is if we were to click Control and A, there is apply options, so we can either apply location, rotation and scale some people just do all transforms. I wouldn't personally recommend you doing that because if you apply all transforms, it's going to reset the location itself as well, meaning that the origin point now is going to be at the center. When you're moving it, it's going to be off. So that's not super good practice, especially if you're having an object that's already located off the world position. If you have an object that's, you know, within the world position, you can just do that and it's going to be totally reasonable. But again, if you just want to apply rotation and location, you can just use rotation and scale or simply use rotation or scale separately. And that will, if we have a look at it, right now, the scale is like this. If we use rotation and scale, the scale is going to be set to one. Means that now if we have both of these objects selected, click A, and Smart UV project, it's going to give us the same exact type of uniform scale for both of the windows, which is going to be much better. This type of a transform setup is also needed to be known. When we are even if you are UV and wrapping objects separately, you would still want to, for example, well, get the same type of UV density on both of them. So real quick, I'm just going to go ahead and control Z. To make sure I get my wonderful scale that's overly sized. Now, if I was to, well, UV and wrap them both. So just like that. And afterwards, let's say I want to average out both of these densities, both of these scales. Once I'm happy with the result of my UV islands, I can go ahead and select all of it, go on to UVs, sorry, UVs on the two D side, which side you use does matter. So UV panel over here. Average island scale. If I was to click on it, we're going to get this type of a mess. Again, because we haven't applied the transformations. You can think of transformations as a way of basically controlling an already existing mesh instance, how it's being applied onto the world. A better example of this is if I was to use, Alt D, which allows me to duplicate linked object, meaning it's going to be an instance of the same object, meaning that if I was to make adjustments to the mesh within this one, because it's a duplicate instance, essentially of the mesh, it's going to also adjust this mesh, all of the meshes that were linked together. But if I was to move this around, if I was to scale this up and down, if I was to rotate it, it's not going to do anything because we are basically just changing the transformation of an instance. But when we are rotating it within an edit mode, it's going to start rotating everything because now we are changing the location of actual vertices and not just the transform tools. So that's something that's a good way to visualize. Go back to this, again, all we need to do is just make sure we rotate, apply rotation and scale. And then once we have both of these objects, we can use average island scale, and now it's going to average everything out in regards to the scaling of the UVs. Another way that it can potentially look bad for the UVs, for example, is if I were to start modeling, let's say, from a cube, just a quick example with our usual correct wood. Let's say I want to just start off by scaling it outwards and getting something long and just maybe for a plank or something like that. It looks already nice. Let's then try to UV and wrap it. This type of plank. We can do Smart TV projection, UV and wrap, and you'll notice that UVs are actually squared. So that's also going to cause issues because automatic UV and wrap is going to start thinking that, because this is a square, it can have the rotation whichever way it wants, and the wood is going to be distorted, randomly rotated, and everything is going to be badly done. So for that, if you're working on well creating a plank, make sure you are doing it within edit mode itself. When you're doing it with in edit mode, it's not going to change that transformation, as you can see over here. The scaling is still being kept the same. While the scaling over here is being completely distorted. So now if I was to unwrap this object, so it's going to give us a beautiful wood, like we all love. So that is something to keep in mind. Again, it's not a big deal, even if you start off modeling process like that because you can just simply apply rotation and scale, then UV unwrap it again, and there we go. It's going to give you those nice UVs that we all love. So that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 11. UV Sync Selection & Clean Editing Workflows: Hello and welcome back e un to UV Mapping Bootcamp, Master and wrapping and texturing in Blender. Now we're going to tackle yet another problem. By using a default blender, you might have noticed that if you were to click on an object, go into its UVs, like so and just have everything diselected, you'll notice that the UVs are missing. So what if you want to just, you know, locate specific UVs and stuff and you can't do that, for example, we click on this place, and it would just show just this UV and the rest would disappear. That's going to make some things complicated. There is a button to fix that within Blender this option over here, UV sync selection. It will basically show everything that you have within your editor mode. Meaning that you can have both these objects within editor mode, have this selected, and now you can go between the UV selection. Why is this important and where you would avoid using it? Honestly, 90% of the time, I personally find to be using it, using this all the time. So if you have UVs that are not shown or something, just having this on it's going to be so, so good. Uh, also, the other thing in regards to this is that it helps you locate the specific UVs much easier. So you can just click on one of the faces like so and click the dot on your UV map and just see where the UV is. Alternatively, you can do the opposite from this end as well. So, for example, I want to locate where this faces. I can click on the dot and it's going to show me where it is, which is a bad example, probably because it's probably on one of the back faces. So I'm just going to select an alternative. So let's say this piece over here, I can click the dot, and it's going to show me exactly where it is, which is really, really nice. Other feature of this, why I love it, especially is that because we are able to locate the orientation of the UVs. So right now, we might not know exactly how this square is being faced. We can go ahead and go on to the edge selection mode within the UV tab. We can click on the top and then we are able to see which exact face, which exact side of the edge is being selected. So if I want to click on this one over here, we'll notice that this is the selection. So this is actually rotated 90 degrees. I can click R z and 90, and that's going to rotate it in the right way. Now, the bottom face is going to be this one over here, meaning that this is exactly rotated as it should be. The top will be here, the left will be here, the right will be here. In some of the cases, it doesn't matter, but in other cases, it might. It's just something that's good to know. In terms of when you might not want to use it is when, for example, you have this turned off. If you want to inspect an object that's not connected to certain phases within the setup, you can click L, use normal delimiter, and that's going to select this entire column on the side. And we are able to then manipulate and shape the UVs as we see fit, which is pretty nice because the other parts of the UVs will not get in the way. The thing that thing that it's a little tedious with the setup is if I was to click on one of the pass now, it's going to be still okay because the selection is going to be in the free D view still the same, so we can go between these UVs. But if I was to try to move this square over here, you'll see that everything is being still attached, so in the UV sync selection, if I was to have this phase selected, I can now move it and you'll notice that it actually separates from these phases. So that's something you need to be wary about. It automatically, um essentially sees out or stitches out the parts of the UV. And that being said, the best thing to do when you're trying to move all these parts is by clicking L, you can just select extend, and it's going to be extending to grab this entire island. And now we can just move it around, and it's going to be fine. But I really do like this personally because we can just go ahead and select some of these parts and move it outwards, and it's just going to detach it from the section, whereas if we are within the UV sync selection, having this selected, if I want to detach these parts over here, I would need to click Y, and that's going to detach it like, so just an extra button. We do want to reattach it, if we want to reattach something, personally, what I do is I simply re UV and wrap a specific part of the section. I find that to be easiest. But let's say we still want to, well, reattach it. We can go ahead and select this. You can select these sections as you had previously, you can click Alt V, and then it's going to allow you to reconnect it. It shows you how it's going to be connected, and you can click Enter, and that's going to put it back into the spots. For example, again, I can just select it so Alt V and shows me where it's going to try to attach it, what kind of chunk. If we don't want it, we can hit Escape. At the bottom, we see additional information about how to use it. So for example, L can be a limiter, so we can see which edges are going to be connected. Anyways, we can click Enter and it's going to reconnect it. Just like that. But usually my personal preference is if I have these separate, like so, I would just simply click LLL and then just unwrap it either with unwrap algorithm, which we haven't touched just yet, or, you know, be project, like so and it's going to give me the same stuff. At the very start, I don't worry about the scale. I can just always, you know, average island scale if I want to. I can make some parts smaller later or something like that, and it's going to be giving me a we set so yeah, stitching, breaking things apart, and both UV sync and without it. That's so it's going to pretty much work. The other thing is that these parts in regards when it's UV sync selection when it's enabled, you can still control what you're seeing with the UVs. If I was to click L and have this entire part selected, I can use Alt and H or sorry, shift and which is going to hide everything but the selection. And now you see that because we hid in these parts, we even with the UV sync selection, we're able to see that. So we can have both of the of the two worlds, basically, we can control what we're seeing with the UVs, and we can still select it and just see where the selection is and whatnot. So that's my personal preference, and we can then unhide everything using AltnH like so. Or alternatively, we can select specific parts like what we don't want. We can click H to hide it out of the way. And then that part is going to be missing out of the UV section. Like so. Again, we can use Altng to bring it all back. With that technique, though, you really have to be mindful. If I was to, for example, hide some parts and then go out of the object mode, it's like, Hey, it looks pretty good. It looks like it's all okay. But then we go onto UV mode, onto the editing mode that is, and we'll notice that, Hey, some parts are missing. So there were plenty of times where I personally had, like, some small part hidden. Like, let's say, this part at the bottom, if it was hidden, we would barely notice, for example, when it goes off. And when you be wrapping everything and stuff, you know, we're trying to move everything out of the way, changing scaling and whatnot. And then in object mode, it's going to be okay. We might take it to substance painter or our texturing software to texture it, and it's going to start causing issues. And the reason it starts causing issues is because there might be that UV, if I click AltenH that UV that ends up being, well, still existent, but in edit mode, we just don't see it because when we go check the UVs, we had something hidden. Always, always, always, make sure to double check Alt and H is your friend here. You really, really need to make sure that everything isn't hidden when you're finalizing your UVs, because then you are able to have all of them nicely set up. So yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 12. Cleaning Ngons & Non Manifold Geometry: Hello, and welcome back everyone to UV Mapping boot camp, Master and wrapping and texturing in Blender. Next up, we have ourselves a little bit of talk for engons and non manifold edges. So we're going to start with non manifold edges as I think it's best thing to start with. And in simpliest terms, a non manifold edge is a pace that is non planar and the program has to deal with its way of keeping a normal geometry. What I mean by that is right here, we have a simple plane. If we were to use a wood, the usual wood texture, we're going to have it like this. If I was to start moving, for example, this edge, it's going to be quite okay in regards to just changing the angle the steepness. If I was to just select this corner over here, like, so I can click GZ, and it starts moving upwards like this. And notice how it starts creating a sort of an edge over here from one point to another, trying to get essentially this entire plane to still be a viable geometry. But there's no edge over here. It doesn't exist. We don't have anything. We can even, for example, if I was to create an edge between those two points by selecting these two points, clicking J, you'll notice that right away, it changes everything because now instead of using the predetermined programs type of edge for non manifold, it's going to try to well triangulate this in our specified way. If I was to just get an edge over here, I would still keep that same type of stability of a mesh. So even if I was to move this upwards and downwards, so it would still be counted as a non manifold edge. So the quickest way of sorting this out would be if I was just selected and use actually, yeah, if I was to go click free and use something called trangulate faces, it would trangulate phases automatically, and you can see it right away, change that shape. So if I was to, for example, bring a specific object from one software to another, it would have some non manifold pass. For example, this one over here, if I had non manifold paces, it the program could either try to have it like this or like this, and there's no way for us to tell which way it's going to be and it would break the texture. It might even warp it in the wrong way. That is why we should avoid having them. So one way of checking if we have manifold edges, if I was just to extrude this in this direction, just a quick preview. So if we were within phase selection, we can go on to mash cleanup and there are some options for well helping us out with regards to our problem. So, for example, we can select make plinar faces if I had the selection that is. So again, clean up, make planar faces, and it's going to make it into more of a planar setup, like so. So that would be one way of doing it. Another way would be to go on to clean up, go on to clean up and make use out of split non planar faces. And that's just going to automatically, as you can see, detect manifold edges, and it's just going to start splitting that up. We can also adjust the threshold and whatnot. So it's going to find the face that has some oddities in regards to its angle and then split it up. Now, in terms of end goons, we have over here on this window this section over here. This is called an endgon and the reason for it is when we have more faces more edges than four. So for example, if I was to make plane again over here, and we can add edge loop. By default, it starts adding edge loop with edges. It will still keep these as having four vertices. If I was to delete this, dissolve edge, like so right away. By default, this is going to be kept as four points. So the phase is going to be made out of four points. In other terms, it's something that we call a quad quad phase. There is an alternative, so it can either be a quad or a triplanar. So if we trangulate the faces, so that would be trangulated. We can also have object from trangulated to use tries to quads, which would attempt to turn the triangles into quads based on angle and the geometry itself. Now, everything would end up working. There would be some trangulations that would be kept depending on angle and whatnot. But it's still something useful to know. Anyways, going back to this problem, if I was to have more faces, they would still have those four points on each one of those faces. But now if I was to delete this vertices, so this all vertice over here, we can see that it deleted. It looks like we have that same topology, but on ends, we see that we have some additional vertices, and it gives us control to move them anyway we want, which is fair enough. But this phase itself is now an end goon. Once the topology has more phases than four, it's going to turn into endgon. We can use that previous trangulation method, trisquad to kind of negate this entire setup. We can also use Alt and F, which will beautify the setup. I would try to attempt to well, triangulate it everything in a nice kind of pattern. But it's not perfect. So for example, right away, you can see that this turns into a separate phase, and this was not the phase that we were looking for. So maybe we would want to manually adjust some parts, like so and then use Old F to beautify, which would give us a better result. Anyways, the problem with this doesn't always show up. It's sometimes okay to make use out of endgns. But this really depends on the situation. If I had this attire setup as completely flat, so if I were to resize it as, you know, just completely flat type of surface, it's going to be quite right. Most of the programs these days end up having a certain algorithm, triangulation and whatnot that would end up doing it. Real time renderers such as a real engine will only accept triangulated meshes, even if it's a quad they would trangulate it within an engine itself, although it's still recommended to keep parts, you know, as quads like this. So even though all of this would be trangulated in sort of trangulated within, like, a game engine and whatnot. So that's something worth knowing. And in regards, for example, of this, top over here, we can see that all of the vertices end up being set up like this. Joining onto this part over here. And it's mainly because we have this little chunk at the bottom. If we didn't have this chunk at the bottom, so if I was to delete it and if we just had, like, a simple fill, this part would be totally okay to just have it, like so and just have something like this, I would be totally okay, even if it is an end go because when it's a flat surface, it's more reasonable to keep that end going because the programs tend to just strangulate it in a random way or based on an algorithm, depending on the program. And there's no way of going wrong when it's a flat surface. The problem comes when flat surface is a little more complicated. So, for example, it has depth as previously shown with this little abomination, or if we have something like this. So over here is a causation of bullying. Operation, which allowed us to cut into the whole of this planar surface. And if I was to just show you how it looks like that's how it looks like. So in this particular case, we might have a problem because sometimes when it tries to triangulate it, it wouldn't just keep those holes. I would try to maybe join some parts like this, and you would get these kind of pass where it's just weed cuts into the surface, and you would get, just some glitchiness within your well, mesh. For that reason, just make sure you have this either triangulated or you can manually fix that up. So if I was to just, for example, trangulate faces, we can have it like this, try quads, just a little bit quick cleanup. It's somewhat acceptable. If I was to use beautify tenf it might not work quite as well, or you might want to delete these parts over here. But then the UVs would perhaps need to be redone. So beautified Alt F doesn't always work. Alternatively, what you can do is you can get some control. So if I was to just triangulate this, real quick just to show you what I mean with control. So right now, we have all of these vertices going from this particular angle, and it's a lot of vertices, and it might sometimes give you some issues, especially if you are having maybe, like, some depth, maybe it's not a completely planar type of surface. So for when that happens, I would recommend you just doing some parts manuals. For example, this would be joined over here. This might need an additional maybe vertice, so we can just select the edge and we can just click Subdivide and hopefully it will give you additional vertice like so, and then you might be thinking that, hey, the other face would be an end goon anyways. So we can click Old and we can see what happens here. I can click L, making sure that it's set to normal. Click Shift H to see the entire part. So this over here, it's a flat surface. You can't really go wrong with it. You can just triangulate it or whichever way you can just leave it as an endgon itself. It's not going to get it wrong, but the main part is because this has holes. We definitely need to make sure that it's well, not an end gun. So for that reason, I sometimes prefer to just, you know, subdivide some surfaces, just make some control points like this, making sure that parts that combine have, like, some, um, specific edges that they're going towards. So this for example, we go here. This last point, I would like it to go here as well. But this point, I would like to go here. And because we're creating these edges, these parts will end up just naturally being trangulated. So if I was to select these edges, so by clicking L, selecting it maybe a UV, so I can click, what's it called? A trangulation? There we go. So trangulate faces, and now it's going to do the trangulation in a bit of a better way. Now it's definitely not going to cause us any issues. And again, I'm going to click Old Age. Let's not forget to do that as previously mentioned in the previous lesson. So, yeah, that's going to work a lot better if we are exporting this mesh for texturing or other purposes. So, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 13. Correcting Normals for Clean Texture Bakes: Hello, and welcome back everyone to UV Mapping boot camp, Master wrapping and texturing in Blender. In the last lesson, we left ourselves off with a troubleshooting, couple of engons and whatnot. We're going to now continue on with our setup. And if we look behind the environment, we're going to find three barrels hidden in the back. Let's go ahead and select them free, like so and raise them up by clicking GST and just moving them upwards. All I did was for these free barrels was simply create new material for every single one of them. So it has mesh one, mesh two and mesh free materials. And I just simply selected them free, like so exported out as FBX and import it into substance better. And this is what we get. Right away, we'll see this issue for the barrel one. It's going to be self evident. It's going to be way more visible in comparison to what we see in blender. And the reason for that is that by default blender uses something called a two sided shader, meaning that a face can be seen from the inside and sorry, from the outside and the inside. So if I was to go get my camera inside, you see the faces in here. So, on the other hand, we have a barrel over here. If we have a look what's happening on the inside, we'll see that some of the faces are transparent, whereas on the outside, we have transparent faces on the right, and on the inside, we can see through on the left what's happening. The reason being is that by default, substance banner will use one sided shader, meaning that faces are only visible from one angle. And this is actually more common than Nude fink in blender because it mainly uses cycles render engine, which is a tracing setup. I can't afford to have two sided as a default. But something like unreal engine, substance painter, just real time renders in general, they would almost always would prefer to have one sided shader. Now, the other thing why it's an issue is because not only we get those type of visuals, when we are texturing, we are also going to have issues with them. So let's say we still want to keep it in blender and we don't really care about chose sided type of orientation. Well, if you decide to do some texturing, you still would want to have normally align normals in the right direction, giving us a proper outcome. The reason we can also get issues in blender, if we want to do some texturing, like in substance painter, we would need something called procedural generated textures. So if I was to go on to baking menu like so, we have all sorts of textures, normal, which would allow us to get it from HIMAp from high topology to low topology, something like worlds base normal, which will allow us to, for example, get a gradient, curvature position, thickness, et cetera, et cetera. The main one, though, is ambient inclusion for this particular case. The reason being that if I was to bake it only on mesh one for now, I'm going to go ahead and just deselect everything else because we don't really need it. Let's go ahead and bake this out. So return to painting mode, and if we have a look at it, this is what we're going to get. So notice how we are getting some darker parts in between. Notice how the texture is actually being, darker on the inside. What ambient clusion does is basically, if I was to show you the ambien occlusion mask only, is basically it goes within those crevices that goes into areas which would have more depth and darkens them, giving us more of visual feedback out of the depth itself. So you can imagine that without amber clusion, you'd have more of a flat looking surface, but with amber occlusion, it's going to darken those parts around areas where there is, well, more detail. However, this changes when we have the normals flipped, meaning that darker areas would be considered like this part of a year, where it's supposed to be more of a curvature, a lighter area, and everything like that gets just simply messed up. It just darkens everything and it's not going to look good. So even if we were to export out this texture, it's already a lost cause. And well, that's not good. In blender, it's quite easy to fix. If we were to go back onto the project, there is a nice little thing to visualize our paces if we were to go onto this overlay icon over here onto this arrow, we can click on it and select face orientation. In the older versions, you would see blue and red. Blue is basically good. It's facing towards the camera. Red, on the other hand, in both cases, is going to be facing inwards, is going to be facing away from the camera. So the best, the easiest way to show you would be with a simple plane. If I have this simple plane, top is okay. If I were to rotate my camera, I can see that it's now facing away from me. Essentially, if I was to put it in an unreal engine, from this angle, it would be invisible, same for substance painter, just like that. So all we need to do in order to fix this is go on to Edit mode, select all of the mesh and hit Shift and N, and that's going to fix it just like that. It might have had some issues with Shade Smooth. I'm just going to go ahead. It's still a mess. And the reason being is that if we were to go on data, there is something called if I was to find it geometry data, there we go. Clear custom split normals. And if you were to select this barrel over here, click Clear Custom slit Normals data. It's going to give you the default reset. Then we can go on to shade Oto smooth and then use just based on an angle to kind of get that result of smoothing the sections where needed and keeping the sharp bits where it's not necessary to be smoothened. All right, going back to the normals in case of them where it's being faced and whatnot, face orientation, that is. So on the inside, you can see it being red. But let's say some parts would be still an issue. This entire selection doesn't fix it, so shift and N. So shift and N does not fix it. What can we do? Well, we can select specific paces, using, for example, C and just selecting it and right clicking to cancel it out and hitting Shift and N. Then we can select this button over here, which will flip it out, like so and that way, we can essentially control which faces are facing towards you and which vases are facing away from you or from your camera. And that's pretty much it in regards to the control. If we had some issues with red being visible, we can just click this on and off in specific areas just like that. And once we're done, we can go on to face orientation, and then this barrel would bake perfectly for you. Now, let's go ahead and test our barrel. So I went ahead and just exported all three of them out in one FBX again, simply because I want to update this. And once we have this version, I can just drag it in and right away, it will ask for project configuration, essentially allowing us to update all of this FPx file, going to click Okay, and that's what I'm going to get. Right away, we'll notice that it's still dark, although the faces now are flipped. If I was to check it, we can see that everything is nicely set up and we simply need to go on to baking and re bake this amber occlusion, which hopefully it will fix this issue just like that. So that's going to be it for me. Thank you so much for watching. And then in the next lesson, we're going to continue on working with these barrels, trying to fix them up. 14. Checker Maps Visualize Your UV Layouts: Hello and welcome back everyone to UV Mapping boot camp, Mason wrapping and texturing in Blender. In the last lesson, we left ourselves off with the first barrel being fixed. Now we can add texture and have a real nice type of setup. Speaking of setups, we might as well go over how to add some visualization for the density of a texture. In substance banner, it's quite an easy thing to do. I will show you how to do that in blender, as well. Don't fret. Let's go on to just simply adding a fill layer. Then we can create ourselves a generator, like so and holding Alt, I'm going to just only apply color channel. Then select generator, and there is our UV checker. It is great for visualizing how the rotation is. We can also click, I believe, there we go free. So this one was part of a multi mesh type of setup. Don't worry about them being scattered around like that. I simply wanted to show you how it looks like. And you can see the alphabetical order is going that way upwards. Like, so if we were to check our UV in freed, we can see that it's going sideways, meaning that it actually is rotated like if I was to be able to rotate a camera is a way I want, which I can't seem to be able to do it. Unfortunately, either way, we can see that the UVs are going that way to the side. So that is pretty cool. Although personal preference of mine in substance beater, to check UVs would be by making use out of a simple material. It might be a silly thing, but even so if we were to go and use fill layer like so and click on the material mode, we can check it with something like a skin or a reptile skin. It gives us a real nice pattern, and it is quite shiny. If I was to select it, we can go ahead and increase the tiling, and it might be a somewhat silly setup, but honestly, it's what works for me. So if we have a look, we can see everything being reflected. I can hold shift, move the lighting around and see if, for example, any of the seams are visible. So for example, right away, we can see this seam over here. So in terms of hiding, seems and whatnot, we can talk a little bit about that later. Honestly, it doesn't matter. All we need to know now, though is that checking Vs, checking how they look like is pretty good with this material. Before there was this metallic crosshatch that I loved seems to have they have removed it. So this is my alternative to use the reptile skin to have a quick look. So for example, maybe over here there's something wrong with it. I can offset this and see, Okay, this is part of the skin, and that's fine. Like, so and all in all, it is good. All right. In blender, if I was to go ahead and test out this barrel or lovely barrel over here, we can go on to shading tab, which will rearrange our entire layout, and you'll see that even the camera is a little bit off. So let's go ahead and zoom out and we can even if we have the barrel still selected, we can hit the dot button, which will zoom us back in. So in terms of this setup, let's go ahead and change from shade of type from world to object over here. I'm also making sure that the material preview is visible for me. If the window is too small, just make sure you make it a little bit bigger. And then we can simply click Shift in A, find checker texture, like so and use this for base color, just like that. The scale I prefer to have it is 20. That way, I'm able to see it. Oh, and I've completely forgot one more thing. We need UV mapping so we can get object info. There we go and set this up Sorry, that's not object info. Object info from UV map, like so, and we can attach it to vector, and there we go. Nice, lovely type of setup. In this case, even scale might be a little bit too small, but by default, scale of 20 would work in most of the cases. The reason it's not working now is because the UVs that we're having are a little bit scattered. Again, because this was used from another prop setup, and it was part of, well, multiple assets were placed in one UV space. So, yeah, that's pretty much it. You can test this stuff out of program. If you're using something like a game engine, you can just download yourself a checker texture of the Internet and plug it in into your material to check that out. So yeah, a pretty simple and straightforward lesson. I just wanted to showcase you how we can use a checkerboard. We're going to learn how to make a better use out of it when we start manipulating the items of UVs. But again, let's not get ahead of ourselves. Let's continue on with the barrels first. Thank you so much for watching, and I will be seeing you in a bit. 15. Avoid Overlaps UV Baking Best Practices: Hello and welcome back over on to UV Mapping, boot camp, Master Unwrapping and texturing in Blender. In the last lesson, we checked our barrel vitalized with this UV checkerboard. Now we're going to move on to our second barrel. So let's see what is going on with it. On this side, it looks well, it looks quite right. Let's see what we can do with our texturing. We're going to go ahead and bake out our my clusion just to see what is going on. If maybe it's okay, maybe it's not, I think it isn't because I'm the one who made these barrels, and if there is a mistake, well, I might have created those mistakes on purpose. Let's go ahead and generate Amateoclusion, and there we go. Right away, we'll see some interesting and unique type of outcomes. So what is going on over here? We have some bizarre setup. We're trying to paint color, and it seems to be painting on this side as well. We also have a little bit of an issue over here. It just doesn't look quite right. Let's go ahead and test out what's happening with, well, texture preview. I'm going to use my reptile skin because it's just quite nice and going to increase the size, so just to see what's going on. So in terms of applying the scale, it looks like everything is okay, but the thing that's not making it okay is just this section over here. So let's open ourselves up with UV tab over on the side. Just hide this out of the way and see what's going on. And there is our culprit. As you can see, over here, we have an overlapping UV, and overlapping UV is great and if you're just using a simple, seamless texture. So if you were to use this good old trusty wood that we had over here, of course, it's not that type of a mesh. Perhaps you would use more of a metal, but for this case, let's go ahead and add wood so you wouldn't be able to tell that there is an issue with the top of the section because it's a seamless texture. You don't really need to have any generated normals or ember occlusion or anything like that. But when you're starting to use them as unique maps for well, texturing specific parts like in substance painter, you would then need to consider that placement. So for that, we can simply go ahead and fix it quite easily. Well, in terms of checking whether or not it's overlapping, where we're not something that's overlapping again, you would just go ahead and bake out amid clusion and click B on substance Banner. And that would preview your mistakes quite easily because amid occlusion when it bakes, it will try to bake out this plane over here, and it will try to bake out the overlaid setup. Which would give you those errors. So it's quite easy to see. Just make sure you rotate your object around before doing any type of texturing. Just checking that kind of stuff. So for example, bottom over here is also an issue, which might be sometimes because of low resolution, sometimes because some of the pass maybe are bleeding through or something, and you might need to where is it, lower the distance, marks occluded distance, minimum occluded distance you might want to play around with those values, delete couple of zeros from here, add couple of zeros over here, stuff like that. And if you tried lowering those values, and it still doesn't work, odds are UVs are overlapped. Again, I'm showing this in substance Beta, but some other texturing software, other baking, am occlusion, and whatnot, is going to do quite well in these cases anyways. The fastest fix for this would be to simply, well, we could just click L and move this out of the way, and that would be our fix. The alternative would be to pack UV islands, but I'd like to firstly finish off with this other barrel because it's quite similar in terms of an issue, but it's not quite there. If I was to quickly bake a mesh free and occlusion, we'll notice a little bit of a similar issue except, hey, ho, it has some black mask. So what is happening over here? Why is it turning purely black? One of the reasons, again, could be because the maximum occluded distance was just a little bit off. Maybe you had a what's it called D D D D do? Self occlusion is set to always. But if you have this set to only the same mesh name, you would essentially be trying to use A, if you go to common settings, you'd be trying to use high definition meshes. If you had a mesh that doesn't match with the name, then it would give you this kind of issue. You could try use low poly mesh as high poly. If you don't have any high topology, that might fix an issue, but let's get to the bigger issue that could potentially be at fault here, and that would be we can even look at the UV map. That would be UVs are outside of the 021 UV space. We can even see that in here. Even if they are out by a little bit, it's going to cause issues. I really recommend you to just making sure that they are within a space, and that's going to be quite all right. But right now, how could we tell that they are outside of UV space? When baking amber clusion, the amber occlusion will only test what's inside a zero to one UV space. It will not check anything else whatsoever, meaning that you could potentially have, um, how should I show you as an example? You could potentially have this piece over here as a duplicate, as a separate face over like so, and have this selected because this is a duplicate as well, have this moved by G X one, like so, which will move it to which will move it to identical spot on zero to one UV space. But this is going to be moved exactly by one, meaning that whatever this UV space is having, this will also contain as well. So you can have, for example, like table legs, or, for example, maybe you want this piece. This little piece over here to be duplicate on, like sides and stuff, and you just want to have this exact type of a setup and you want to save up some UV space. You could just duplicate this, like so move somewhere else and have this move GX one. Like, so the reason we're moving it like so is because Amberclusion would not detect this. If you had multiple parts overlapping would start getting issues like this where it would start giving you artifacts, mainly because it would just try to overlap the same object onto one UV space. And that is not really acceptable. But if you have this same spot basically duplicated over on the side, it's going to ignore it just like it's ignoring this part over here. Because the UVs are outside of the zero to one space, it's going to give us artifacts like this being completely black and whatnot. And again, if I was to just have something like this seamless texture, this being outside of zero to one space would not matter whatsoever because, well, it starts looping over itself, so it doesn't really matter. It only matters when you start wanting to texture it and having that zero to one space as a unique mesh to be textured. So yeah, that's pretty much it. We can see that some of the parts, for example, over here, look like they might try to do something with the ember occlusion, and the reason for it is because it's trying to duplicate what's on the up side, which was this next to its corner. So that's why it's giving us basically the continuation of this piece. This part over here would try to be, well, what's over at the top, which might be a little bit harder to notice, but even so we'll still see some, like, streaks and whatnot for no reason. So that is something to keep in mind. And yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 16. Mipmaps & UV Packing to Prevent Bleeding: Hello and welcome back every on to UV mapping, boot camp, Master and wrapping and texturing in Blender. In the last lesson, we left ourselves off by going over some of the basics for how to identify some of the most common issues. Now we're going to continue moving on with our Lantern over here. And I'm going to talk a little bit about how to make use out of our setup, how to make use out of your RUVs to better optimize them within zero to one UV space for the mesh. And for that, we're going to introduce ourselves with UV packing option in Blender. Which I think I'm going to start actually with the window over here, just to showcase you what it does. If I was to go ahead and select the UVs, so we can go onto the UV section and select PAC Islands. Pack Islands is great, as it will allow you to, well repack your islands. As you can see, over here, we have lots of holes and stuff. If we were to make use out of the Pack Islands, it will allow you to repackage them essentially. So at the bottom, we saw a bar showing us packing process, and we see that it's going to save up our space quite nicely over here. So all in all, it's quite good. But let's say we want a little bit more control. Let's go ahead and talk a little bit about how to make use out of a packing to better enhance your UVs. So first things first, I'd like to talk a little bit about well, something like wood, for example, if we want to have all of our UV islands to be facing in one direction for something like wood, do actually want to go back onto our crate for that. So we have our wood over here quite a bit messy and everything is small. We can use packing islands like so and talk about a rotation method. If we have rotation methods to vertical, it's essentially going to do what UV packing did beforehand, which is going to give us those lengthier islands to be rotated in correct way. We do need to make sure that this is ticked on though. We also have scaling, which is going to allow us to rescale all of those little pieces. If we don't have this tikton, it's just going to keep them as small as this. And yeah, let's go ahead and repack this right away. We're going to see that this is the result that we're going to get. So much, much better result. So that's pretty good. Then going back to our troubleshooting section. Another thing I'd like to talk a little bit about is going to be if we were to use packing the option for margin. So margin will allow us to get more of those gaps in between, and that is something very, very important. The reason I'm saying it's important is because if we were to use packing with no margin, it's going to give us no gaps. And you might be thinking that it's alright. But the issues come when we start using it in other engines in something like real time engine unreal engine itself, we would start getting issues. So, for example, if I was to increase this instead of 0.002 to 004, we're going to get bigger gaps. And you might be thinking that there is no reason to do that, but that is where you are wrong. If you're using real time renderer, especially, it's going to give us some issues. So for that, I'd like to use some of our lanterns as an example. If I was to open up a project with Unreal engine, just going to change this to a lit mode. Like, so, so this is the lantern that we're having. So what's nice about Unreal Engine is that it has some optimization setups already pre built within the engine itself, one of which is going to be a MP map. And if I was to explain to you what MP Map is, I'm just going to go ahead and real quick, open up an emissive texture. MP Map is this part over here. It's a level of detail for a texture. So if you know what level of detail is, essentially, it allows us to simplify an item based on a distance. So the further we are from an object, the less of a resolution it's going to get. And that is quite important to know because MIP Map, if we start increasing it, it will start lowering the resolution. So right now it's set to this, and if I were to set it to ten, it's going to just blur everything out completely. And you notice those pixels that we have over here are going to start blurring out completely. If we were not to have any type of shell padding, any type of gaps, those blurriness will start overlapping and merging with one another. And that's especially important in sections that we have certain glow, for example. Because if we were to have a mission like something for this lantern over here, once we start zooming out, we would start seeing the items bleeding in for the areas that they're not supposed to. So for example, if this item was a little bit closer, so let me just show you a little bit better on the color itself. So this item is placed way far away from the emission over here. But let's say it was a little bit closer to the emissiveness over here. If that was the case, then it would start bleeding in that chunk of detail onto the post over here, and you'd start seeing even if you're far away, you'd start noticing that something is glowing in area that it's not supposed to glow. That is one of the reasons why MT maps need to be threaded carefully and why you need those gaps to be there to kind of elevate the setup from that. Another thing for why it's important is because when you are working with, well, free the softwares, they're not always using super accurate result for UVs. So these UVs, if we start zooming in, you might think that they're going to be pitch perfect when it comes to the UV setup, but it's not quite true. If we were to go onto our static mesh, there is an option called UV precision, so let me just go ahead and try finding it. There we go. Use full precision UV. You might want to look into that if you are interested in more information. But what this does is going to basically allow you to use more accurate data of this created UV. But the reason it's not using it by default is because it's way more performance friendly to just use an estimation of the UVs, and that is why having this it off by default is going to be more useful. And therefore, good practice is to have some shell padding, some bit of gaps in between. Those gaps depend on the type of resolution of texture, to be honest and whether or not you are using emissiveness. So for example, in an area where it's a barrel, a general type of a noise of blue, metallic type of rust, if you see this part of a chunk, for example, starting to overlap a bit elsewhere from a distance, it's not going to be visible. You're not going to really care. So shell padding for this can be, you know, way, way, way smaller, and something like packing it to a value of 0.001 would be still right and reasonable. The other thing is that if you're having four K textures, of course, the gaps don't need to be as big as well, so 0.001 would also work. In this case, also notice how there's not too many well items in comparison to something like a window where it has lots of UV shells, and for that reason, there's not many ways of optimizing it, so you can just simply pack it up with a little bit higher of a margin, and it's not going to make too much of a difference because those gaps, don't add up. The more UV islands you have, the more of an issue it's going to start becoming. So if you have it over here with a pack for the same margin, you'll notice that it makes everything much, much smaller and more you grow with that margin. It will start changing up the resolution and you don't want this to happen. So if we were to change something like one for a margin, this is clearly too little resolution. Everything is very blurry. So let's not have that. Big final thing that I'd like to mention in regards to this entire information is that within texturing softwares, there's also additional option for negating that additional space in between the UVs. If we were to go and export a mesh, ignore this little guide. This is a sample that you can get by using just open sample and finding a toad. Ways, going to export textures, there is something called padding, and this padding is what causes our textures to be well somewhat stretched out. If I was to go onto this setup over here, onto our lantern, you'll notice that these parts start bleeding out once they reach their UV shell outer space, and they start bleeding out until they well, they start merging with our parts. So, for example, this over here was an empty space. All the pixels start bleeding out until it reaches another part and they start meeting up. And every single one of them is going to do that. The reason for that is because I don't have dilation, usually, it's set to dilation infinite, which will allow us to do that. But if we have something like dilation diffusion, you can select the amount of pixels and start dlating. For example, after ten pixels, it would stop only giving you an outer shell instead of bleeding it out to the edge of the canvas. But using infinite padding, personally, is just I feel like it's better because since you're not using that space anyways, you might as well just bleed it out. Though I would say that in regards to, like, countering this argument, it might be a little bit less sizing to the texture. If the space itself was just purely black and whatnot, the compressing of PNG format or JPEG texture, whatever you're using would end up being a little smaller, although the difference from what I noticed, is not really that much. So yeah, hopefully that all of this information made sense. I really am glad to share this information with you guys. Thank you so much for watching, and we'll be seeing you in a bit. 17. Scaling UVs for Sharp Text & Shared Materials: Hello and, welcome back everyone to UV Mapping boot camp Master wrapping and texturing in Blender. In last lesson, we went over some padding techniques, how we can make use out of them and whatnot. And now let's talk a little bit about, well, adjusting UVs, kind of changing up how we want them to be and whatnot. We're going to start off with something rather controversial about the idea of not moving UV vertices once you well captured something. And that's most of the cases in most of the cases is going to be true because if you start moving anything, it's going to start stretching anything out. And that's nothing. Like, it's definitely something we don't want. Not only will you start stretching shape, you will also start stretching the pixels itself. So the more you start stretching, the more you'll notice that those pixels are going to be well, more less resolution because you're stretching it out. Well, if you're stretching the vo way, it will start also being smaller as well, but Evo way, it's not going to look the same as if you were to just texture it after you're done with the UVs. That being said, though, there are a couple of workarounds or a couple of ways to make use out of it. So let's say you want to slightly offset some of the UVs. Let's say we want this to be moved down. Do that. We can, for example, select one of the vertices, and we can click G and then G again, which will allow you to go into Vertex Move tool, sort of a vertex slider that will just let you to slide the vertices in between the points like this. So this is quite nice. It allows us, for example, select an entire edge loop holding Alt, sell anything like that. So licking G twice and then moving this downwards and notice how although the shape is somewhat changing, the UVs are still being kept the same. So we can use that to maybe even, you know, make an interesting shape if we want to at the top, having this maybe would work quite nicely, although even so it still might be needing to be a little bit careful, not doing it too much because as you can see, it gives us a little bit of a wobbliness. So just make sure not overdo it if you're using this technique, especially for multiple edge loop situations. But if you're using it for something like just one vertice, I doubt it's going to cause too much of an issue, to be honest. It's going to keep that shape more or less the same. In terms of using it to help you out, you can do that. You can, for example, select it over here. So I have a little vertice over here, and notice how at the bottom, the point over here is not rightly set up, centered to be right underneath the rope. Use this vertice over here to move it, and I'm going to use this gizmo over here to move it to the side because this is a flat surface, I'm going to only move X and Y direction. So using this square will allow me to lock the Z value over here. And by just doing that, I can move this and slightly reposition it, so notice how they are being warped. But, for example, if you look at from the bottom, it's going to look like additional type of depth in this particular case. So visually, I think it's actually going to look even better. So we can see before and after. There we go. So yeah, really up to you in regards to the usage. We can also do some bit of more unique type of setups. If we want this, for example, to be more unique, we can totally do so. I'm going to go ahead and duplicate this mesh off to the side. And let's say we now want this mesh to be a little bit different. How can we do that? Well, there are multiple ways. We can be a little bit creative. We can select just this bubble over here with an L delimiter set to normal over here. And if I was you use S dead and minus one, I'm going to flip this entire part around like so, and it seems like shade out of smooth wasn't working properly. But just like that, I'm able to flip it, and we have basically two variations. It's going to be two different meshes, but they're still going to use that same type of a mesh. So that's pretty nice. That's pretty cool. Another thing that we could do, for example, we could extend this at the bottom over here, which is going to start stretching out this part like so, but because this part is just somewhat of a well, just a simple basic type of noise, it's not going to matter if we're looking at it from a distance. So we can have some bit of variation in regards to that. We can also grab this as well. We can use a Z. Like so, and I'm going to then make it smaller afterwards, just like that. And just by playing around with this, we can see that basically we can get just a more unique type of a look. Now, let's say this part over here looks a little bit. Well, maybe we want to change it. Let's say we want to change it. Okay, we can do that. We can select it like so using only UVs. And now we're going to switch it around a little bit in UV section. So by just rotating this around by the 90 degrees, which I'm going to just rotate it like so and sorry, not 90 degrees, 180 degrees, like so, which just rotate this entire part around. It's going to flip those characters, but maybe it's something that we'd want and it's going to look quite nice. And I just realized for some reason, it's shade order smooth is not ignore sharpness, perhaps. I'm just going to set it up as shade order smooth and leave it as this. It might be because, well, the geometry data was set, there we go, and we just reset it. Fixed. Alright, so you can see that it wasn't because of the UVs, but what was because of the UVs, if I was just to select it again, R Z 180. We can just do it like that as well, is we'll have some of the issues. For example, this part over here is because we had a hole on the top. So from a distance, it might still be okay, you know, if you're willing to sacrifice that type of detail. Like that. Or alternatively, if I was to select this mesh on the back, we can use just flipping it mirroring it around. So I can use S, Y minus one, like so, and it's just going to flip it to the out side, keeping that hole at the very top, just like that. So maybe something you want, maybe not up to you. And the reason I'm using S Y is because, well, it's X and Y type of directions, although they're called U and V, X being horizontal, Y being vertical. So we can make use out of that to just flip S Y minus one and scale invert for that, basically. And, yeah, that's pretty much it in regards to the basic type of scaling, rotation, and whatnot. We can make use out of it to make a variant for the setup in terms of making use out of, well, one material. Previously, I mentioned how this mesh, for example, was used with multiple pieces, and that's why it's being stuck like that. Let's say we want to set it up with this lantern and the spiral with this lantern, what we would have to do is basically, I'm just going to duplicate it to showcase it. We would have to just use the same material. So if I was to just replace this material with props big, like so, and this is going to be a mess at this point. But once we have them both like this, we can go ahead and select them both, go on to UV and pack islands again. In terms of pack islands, one thing I really should have mentioned that previously is going to be it's going to pack it based on the default scaling of your well, mesh, not mash, sorry, your UVs. So because your lantern was in a bigger scale, it's going to have a bigger chunks. So again, if I was just to show you like this, it's going to give us a much bigger resolution. If I was to have this entire mesh, all of this scale much smaller. It's going to start packing them in much smaller size like this. And if we want to have all of the sizes to be, well, the same size, we can use average island scale. It's going to average everything out, and then we pack it, and then it's going to give us that ideal perfect resolution. Or alternatively, let's say this sign over here, we want to be well, bit higher resolution for something like text, it might need to be more readable. What we can do is we can select this sign over here once we average everything out, so let's go ahead and average island scales. Then we can select this sign, like so, and I'm going to scale it upwards. And scale ratio really matters. So we can either do it by hand or I can use S two and enter, and that's going to give us well, we'll try to give us a resolution that's twice the size of what we would else see. So if I was to now unpack the islands like so and actually reuse this back chunk texture checker. I'm going to go ahead and do that. I'm going to go ahead and select it all, so click Control L link materials. And there we go. We see that this is the type of a scale that we get, and it's going to be somewhat consistent. This is a little bit stretched out, so tries to accommodate for that. At the bottom, we're going to see them a lot densier though. So that's pretty much it. In regards to the setup. We're now going to move a little bit in regards to, well, unwrapping our techniques. So yeah, that's going to be for me. Thank you so much for watching, and I will be seeing you in a bit. 18. Optimize UVs with Modular Wall Reuse: Hello and welcome back. We're on to UV mapping boot camp, Master on wrapping and texturing in Blender. In the last lesson, we went a little bit over the setup for, well, having some variation, tweaking some UVs, rescaling, and whatnot, changing that type of stuff. Now we're going to move onto our next part, where to close this volume versus surface. That's a little bit of an interesting it's going to be a little bit reminiscent to our surface area, the first chapter we did. But in this case, we're going to talk a little bit about, well, what does it mean surface versus area? Obviously, the UVs, the items that we have on the faces, the textures and whatnot, are going to be dependent on how much surface an object has. So here we have two walls. One wall is just a simple square. The other wall is going to be well made out of individual bricks. And although those sizes seem somewhat looking same, if we were to just duplicate these parts like sew apply or Trustee checker, so if I was to just use that mesh one that I didn't want to rename it, we'll notice something interesting. So mesh one there we come. These parts are much, much bigger in comparison to this part over here. Although they're using somewhat of a similar space, this one we might repack it, but ebay, it's going to give us a much, much bigger resolution. What is happening? Well, you might think on how the items of the wall end up being stuck in between the faces and whatnot, all of those little crevices and everything, they end up making use all of that additional space, and it's giving us those individual little faces. So plus, if we start using something like shell padding, which we talked a little bit about previously, it's going to be even worse. You'll notice that the same shell padding that we used as 0.03 is going to start freaking out because of the amount of little tiny pieces that we're getting. So even using it as 0.01, it might be a little bit pushing but if you want to have a wall like this, you might need to do that. And having mesh one, you'll notice that it's even worse than before. So that is something to keep in mind. Now, let's say we want to have some detail from brick wall over here, you know, the depth and everything, but we still want to kind of have variation of the the texture, density, and everything, the resolution of it from the first wall. So what we can do is we have multiple options. Firstly, the main thing with such walls is, well, if we're using a PBR variation, we can just increase normal value. So increasing the intensity of normal will increase the depth of the wall, like so, but still the main issue would be on your edges. For the edges like that, if I was to go over here, for the edges, we can hide them actually. So you can imagine that we'd have another wall being stuck like over here or something or maybe a pillar on the sides. If we were to hide them out like this, you wouldn't even notice that this type of wall is quite plain. Hopefully, that makes sense. If I was to go into a render, you'll notice a little bit of an extra depth. So stuff like that really, really does matter. If I was to hide it, so alternatively, we could, for example, have an edge of a wall to be partially bricked. So we could create a similar something to like a pillar of just brick walls. So just these walls over here could be an individual piece. Oh, sorry about that. I need to use limiter of normal. There we go. But make to duplicate. So something like that could be a part of the mesh over here, if I was just to make it set its origin, like so. If I was just to make it on the side, we can see that by integrating it like so, it would work out quite well, but that would need to have a little bit of adjustment and whatnot. Maybe brick lead it over here. But just like that, you can definitely visualize how it would look like, maybe scaling it or something. So, of course, you would need to have specific color shading and whatnot on the bricks, match this a little bit better in comparison to that. But visually speaking, you can see that hey ho, it would have a nice effect overall. Oh, yeah. And of course, the wall itself, you know, it could easily be a seamless texture. So that means you can even have even more of a resolution. And if you have more resolution, you can have this same brick wall over here to be just simply duplicated into multiple pieces, and that's going to work quite well. Like, so, then of course, this part would be like anova variation that would be just deleted meshes. And just like that, you'd get yourself a really nice type of a brick wall. Even with that, if you'd want even more variation, what you could do is you could cut out a little bit of the wall using something like a knife tool, whereas knife tool, there we go. And if you were to have it a quick cut like that, click Enter, and you could then delete these faces over here, just like that. Faces like so, and then you could try to fill in this gap manually little bit by little just to kind of give you a nice brick texture over here. So just like that, you could do it for the wall entirely and just have some more interesting shapes and whatnot, have some specific combinations, and you could have both of the best worlds. And, yeah, that's pretty much it. If you'd want to use this, if you're very adamant about this, what I would recommend you instead of doing it like this is just simply grab a section of a wall, it's going to make a selection like this. Like so, going to hit duplication, move it off to the side just to showcase it. Once you have a section like this, you could then re UV and wrap it, or use the packing islands, like so ignore the texture at this point, we're going to change it to mesh so it wouldn't get in our way. And at this point, you could just make wall that would be more modulus. So this part would connect more with this part and whatnot, like this. And just like that, you'd be able to connect the parts perfectly together, just like that. And yeah, once you have just one wall set up as modular piece, you could then duplicate it multiple times and you'd have that nice resolution that you'd wanted. Just like that. So it might be a little bit repetitive with the texture, but it's way better than just unwrapping an entire wall. Honestly. This is just going to give you so much issue. You saw the amount of resolution here getting out and there's basically nothing. It's not worth it. It's definitely not worth it. It might be working for something when you zoom out, but if you're zooming out, you might as well just use this kind of wall, honestly. Wow. Alright. That's going to be it for me. Thank you so much for watching, and I'll see you in a bit. 19. Organic UVs Mushroom with Minimum Stretch: Hello and welcome back everyone to UV mapping, boot camp, master and wrapping, and texturing and blender. In the last lesson, we left ourselves off with volume versus surface. We're now going to move on to the next section, which is going to be called UV and wrapping organic items. So once we have it opened up and I have my material enabled, like so, we can see we have a mushroom with three different materials. Usually with props, you'd see all of the item to be placed within the same material map. But sometimes, in some cases, you end up just having three different materials that you can go in between, and we have one for stem. We have one for underneath the mushroom, and we have one for the upper section of the mushroom. So we're going to make use out of it. And for that, we're going to use this mesh. I'm just going to go ahead and just duplicate it and put it off to the side, so we can just focus on it. First things first, we're going to talk a little bit about our UV unwrapping method, these three over here. These three items unwrap angle based, unwrap conformal, and unwrap minimum stretch are actually a similar algorithm in which it will make use out of seams, which we're going to make use out of in a bit. To unwrap your mesh. These are three different algorithms. The second one conformal, what's the default blender algorithm. Angle base tries to, well, straighten it out a little bit, and minimum stretch is best for organic shapes as it allows us to relax some of those vertices. I'm going to show you how to do that in a bit. Now let's just simply use the conformal O though. Let's click on it if we were to just make use out of it, so nothing would happen, you would see fail to solve one islands, and the reason for it is because we're trying to do all of them at once. That's not going to be useful for us. We need to make sure we are unwrapping it whilst telling where exactly to cut the UV mesh. So, for us to do that, I'm going to firstly actually remove all of these materials just to get the checker to visualize the setup a little bit better. So let me find the previously created checkerboard, like so, and this is what we have by default. It's a little bit of a mess as a right though. We're going to start off by clicking two going on to phase selection. I'm going to move this to get more space, like so. And we're going to start off by thinking about the top so the top can be just simply flattened out like a sort of a panky. Now, before we actually make use out of the seams themselves, let's talk a little bit about the previously talked visualizer for to help us out with UN wrapping. We talked a little bit about cardboard method. Now we're going to make use out of the Latex sheet type of visualization. Essentially, you can imagine that organic items such as creatures or mushrooms, objects with flowing rounded shapes are fitted in a stretchy sheet around the surface. Can bend and deform, so it doesn't need to be conformal, like with hard surfaces, and your goal is to distribute the tension evenly. That's the main part over here. So there can be some stretching a little bit minimal type, but we're making sure that around the shape, we're using less seams. To avoid too many shells, as you've seen previously with the surface versus area section with the brick wall, we had that issue where too many shells caused our resolution to be quite lower. So yeah, some stretching is acceptable and it should be controlled. Seems need to be placed more strategic. So in areas where there's like cavities or more of a sharper edge where it would make more sense because there'll be well, better hidden. In certain cases, the unwrap needs to preserve the flow of a topology more than the edge sharpness, meaning that there are locations where it would have to flow with the organic shape, the texture. We're going to go back to the mushroom, and I will show you what I mean exactly. Using flow active quotes, we're actually going to use another type of an exercise. So we're going to leave it off for now. And yeah, without further ado, let's get right into it. Oh, right off the bat, we can start drinking from the top. And you can imagine this part over here being just flattened out like this, like a pancake, it will give us a really nice setup or just the top of a texture, especially since our texture, I remind you, is going to be just these dotted mushroom textures. So it's just kind of a neutral noise. We can make use out of that. And we just need to think about where we're going to place our seams. So we can firstly, think about placing it perhaps over here, although if you think about it, red dots also need to go around it a little bit inwards. So it would have more depth instead of just having this part over here to be either, you know, the white section, or if we were to try to use the red part again over here, the seam over on the side would be quite visible because these dots, if we have a look at them again, if we try to make well, an edge going straight through the section, we'd have those white parts intersecting with one another and you'd get some issues, especially if we have a look over here. We start getting those kind of issues where it just ends and stops and whatnot. So we might want to avoid that, and that would be a good thing to hide it. So we're going to instead use this edge loop over here, like so. Now, if we were to right click whilst we are in edge mode, we can make use out of something called mark seems. Marking seems will show up as red line, like so, meaning that we marked it as something to be cut within that section. Now if I was to click L and set it my linked to B set as UVs, we'll be able to see that this is now marked as just an island by itself. And now, if we were to click U and use on Brab conformal, we're going to get this nice little setup, and you can see the squares are slightly distorted, but not too much. For something like an organic shape, it's going to be qua. If we have sci fi type of a setup and they have straight lines, then it might cause a bit of issue, but even so there's ways to go around it, like using projection wrapping in substance painter or something of that sort. But we don't really need to worry about that now. Since this organic mushroom is going to be more than enough for the setup. Now I'm going to click on plus symbol over here, get myself the mushroom top. And with this selection, again, I press L to make sure it's UV selected, just top. I can click Assign, and it's going to assign me with this texture, and already it's looking pretty good. Now, we can do something similar for the bottom piece as well. We're going to basically separate the stem from the bottom piece to get this kind of result as we sit over here. Notice that with this texture for the bottom, we have more of a radial type of a texture, meaning that it will just end up meeting on its center. So we have a real nice pattern for a mushroom, well, something like that. Let's go ahead and make use out of that radial pattern. And it's just simple, again, turning this into a flat pancake. We can just make a seam over here, Mark Seam. Click L, and now we can unwrap it like so, using conformal, will be all right. Now, I noticed there is a bit of an issue on my end. There is this little section over here, somehow missed it out. That's right, though. I'm going to go ahead and just select it, click L on the rest and just redo this wrapping, like so, and now it should be fixed. Somehow, it's not fixed. So what's happening? It's actually is fixed. It's used the same UVs, but it's using a different material. So I'm just going to go ahead and click assign, like so, and there we go. Now it's properly fixed. But this part, we already unwrapped it. We just need to add a new material. For a stem, like so and assign it for our selection, just like that, although, sorry this is not a stem. What am I doing? This is not right. To change the material, we can just click on this pattern over here and select the bottom. There we go. We're now going to get ourselves a nice little pattern pattern like so. Let's just make sure we are positioning it and nicely, maybe making it smaller, like so to get it right underneath the mushroom, just like that. As for this little part, it's going to be a little bit more interesting. The reason being is that, well, it's more of a cylindrical shape. And if you remember the way the cylindrical shapes are unwrapped from the earlier stage, from the first stage, if we create our original mesh, we're going to add ourselves something like this. Essentially, the side the side is going to be unwrapped as just one piece, and top and bottom can be unwrapped as separate. So with that in mind, we can do something similar. Because this part is just doesn't have anything on the top. We don't need to worry about it, but at the bottom, we might need to worry about it. So we're going to select the bottom piece. We're going to right click and Mark SM. And then we just need to unwrap it like we would cylinder. So I'm going to select the bottom edge over here, hold Control, select the top, and now we're going to have it all selected. Go right click, Mark Sam and I'm going to click Alton He just to get back to the mesh. It's not necessary to hide the parts, but if you do, it's just sometimes a little bit easier. Work with. In this case, I just wanted to visualize it a little more. Although I will say it's also pretty nice to make use out of hidden features out of hiding feature because if I was to go on edge selection, hold Alt and select, it will take all of this edge loop across our mesh, and we don't want this to happen, for example, what if we want to happen? What if we only want this to be only for the base of the stem? What we could do is as a cheeky little way, we could select, for example, the base. We can click Control plus multiple times to grow our selection or click Control minus to contract it. Once we have a selection like this, we can click shift an edge like this. Then we can hold Alt. Sorry, we can go to the edge selection, hold Alt and just tap on the edge like so. And if you'll notice, we have that selection. Although we had a previous selection happen. So if you do encounter this kind of issue where everything else was selected previously, but you had a real nice selection over here and now just partially selected this, partially selected this, we don't want to say happen. I'm going to click Control Z. I'm going to click Control I to invert my selection. Now I'm going to go ahead and hide it Alton H. So we only have that we want deselected. Now we can click Control I to make a selection, and it just is quite fast and easy to do. These kind of little methods, it's just nice to know about when you're thinking about how to speed up your workflow for creating seams. But yeah, all in all, that's pretty much it. We have the marked seams for this section. I'm just going to select it as UV. Click and use Conformal, although in this case, Notice how conformal basically just has a bit of warping and what not. It has nice density, but if you want it to be a little bit straighter, we can use ankle base would work quite well, as well. But in this case, it tries to warp it at the bottom, especially even worse. Minimum stretch though will give us a much much cleaner result. So it might be a little bit better, although you notice that the stretching is a little bit odd, but for something like this, it might be quite a right. And the reason I'm saying it might be a right is because if I was to maybe low iterations. There we go. So by lowering iteration, sometimes increasing it really depends on the setup. We're able to kind of help us with the relaxation of the UVs. We can now go ahead and just rotate it like this. I'm going to put it outside, actually. I'm going to now just change this material to be mushroom, stem, like so, and now we are going to place it back in. I am going to turn off the UV sin just so we could see this part, like so, and we can even have darker part at the top, although in this case, we can probably use Z 180 to rotate it and have it at the bottom, since the dirt would be there and stuff, it might be a little bit better in that regard. And this little circle can be placed on the bottom, and it's just going to be quite alright. Like so. So, yeah, that's pretty much it in regards to the setup. I really hope you enjoyed. And I'd like to talk a little bit more in regards to mushrooms, how to unwrap them, and whatnot. But we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 20. Project from View & Seams for Stylized Unwraps: Hello. Hello, and welcome back everyone to UV Mapping boot camp Master and wrapping and texturing in Blender. In the last lesson, we talked a little bit about unwrapping. Now we're going to continue on with the mushroom unwrapping. Let's go ahead and make a duplicate out of this mushroom over here and start doing alternative unwrapping. So what we can do with this is if we were to make a selection by clicking L, having select linked as UVs because it was already, well, unwrapped a little bit, just to kind of split it off. We can go ahead and make use out of something called projection wrapping. So this, I find it to be complimentary to the unwrapping we talked about previously, because it helps us to get those organic shapes sometimes, um, easier to be enwraped at the cost of wells stretching. But if I was to firstly click seven to position my camera to the top down view, I can then click and make use out of Project from U or project from view bounds. Both of these do the same thing. One will try to stretch it to zero to one UV space, no one will not care about it and just do a simple projection. You can use v one. I will give you the same result and we can then just well, have the selection and make it bigger or larger or whatever to better fit the setup. You'll see that it gives us a pretty nice type of setup, although there will be some stretching on the sides. In most of the cases where it's simple organic shapes, it would be totally fine. And it kind of helps when we are and wrapping organic forms because after we're done with this, we can make use out of this relax tool. So relax tool will do what we had done previously with what's it called minimum stretch iterations. But this time we can use this manually, and we can use Wait, the brackets don't work. You can only use the size turns out manually, like so to increase it on the top side, strength as well if you need it, and we can click and hold, and then it's going to start kind of bringing everything back like this. And you might be wondering, what is it doing? Well, what was to increase the size even more. Just click and hold on the entire setup. It will start stretching all of these UVs, try to conform it a little bit better, and using that, we can help ourselves a little bit with avoiding the stretchiness, although in this case, that might not be as easy, and the reason for that is because it works around it and it doesn't know what exactly to do around these edge corners, so tries to shrink this entire part. But if we click it a couple of times just a little bit, you can see that these parts that had basically no pixels, we'll start getting just a little bit of resolution. And sometimes that's all we need for helping us fix it and making it seem like it's a nice mushroom. Well this base, however, actually, this one is first. This part over here will be something similar except instead of clicking seven, I'm going to click Control and seven, which is going to give us a bottom view. It doesn't matter if it's a top or bottom view, but it just helps me to visualize and see the selection. Then I can click and project from you. Bounds will work here as well. So in this case, bounds gave me the perfect setup, and that's all we need. And now this part over here, if we click one to go to the side down view, click Project from view, bounds, is going to give us this. And you'll notice that it is a bit stretched out because we use bounds. If we were to use project from view as is, it will not be stretched out. So maybe in this case, it might be a little better, like so, and in this particular part, I might not even do anything because this stretchiness on sides doesn't even look that bad. But let's say I want to add a little bit of that resolution to the sites. So by just tapping a couple of times, I might help it out a little bit, and even by zooming in, you'll notice that you don't really see much in regards to the setup. So I think that's pretty much it for this mushroom. Let's move on to the next part, which is going to be an alternative for U VN wrapping. And this one is much faster and although a lot cheesier let's put it that way. We can just simply go to the top down view. Click Al Z to go into transparency like this. And then we can click free, select all of the parts from one side like this. I'm just making sure. Yeah, it goes all the way across like this. I'm going to click Old Z to see a little better. Then let's click on two, which is going to give us the edge selection, and we just want to have a cross section of the entire mushroom. So we can use selection, loops, select boundary loops, I believe. Yep, that's the one. It's going to give outside of that selection all of the selected item like this. Then we can right click Mark SM and we can unwrap it like this, minimum stretch, like so, although, in this case, we also might want to quickly add those additional edge loops over here, the bottom parts just kind of help us split up the entire mushroom like this. And if we were to unwrap it using minimum stretch, it's going to give us entire mushroom split into multiple pieces. So let's go ahead and select everything, put it off to the side, and determine how we can make use of the pieces to make our lives a little easier. Well, for solders, we have those two pieces. We can bring them onto mushroom. And we can position this to essentially have no edges of these to be part of the white pieces. If we were to align it ourselves like this, make it a little bit bigger if needed. We're going to get no white parts that getting cut in the middle and whatnot. I can do the same part for this as well, just like that. Like so, and it's going to be quite right. There's going to be a visible seam going through the middle, which is honestly quite right. It's not going to be quite as visible or small prop, it's more than right. And if we want these two, we can just bring them in to this inside. Although I'm not seeing the I'm going to go ahead and just doesn't seem to want to doesn't seem to want to change. There we go. I went on a phase selection and now changed. If your mesh is not changing when you're having a different selection, if the texture is not changing, keep in mind that if you scroll a little bit on the top, you might have this icon ticked on image pin. So if you have this on, make sure it's on, and it should give you back that resolution. Not the resolution, sorry, that image. I can just turn it off, for example, and now if I was to go back onto that selection, it will pop me back in just like that. Um, I am going to go ahead and make a quick selection of these two and upscale it out like this, put this out a side, like this. Oh, Z 180. There we go. And just have it like so. So it might not be perfect. In this case, it definitely is not perfect. So we're just going to go ahead and adjust it like this. But you'll notice that for some cases, it might be more than enough with the setup. Maybe conformal. There we go. This one will work a little better. So I'm just going to go ahead and do that, like so and there we go. As for this part, not a problem. We can go ahead and use minimum stretch, and this bottom piece is right. This needs to be rotated, like so make sure the dark parts are both covering this up, and there we go. Now, when it comes to, you know, perfect UVs and whatnot, some people might say, Oh, you need to do this and do that. As long as it gives you a visually good quality, as long as it's not too overly clutter in the setup, meaning that there's no weird like duplicates or something, it's going to be all right. Uh, for example, this part over here, maybe we can just separate it. So I'm going to go to the sing selection, have this part selected, and then move it off to the side, unwrap it, make it small again, put it off to the side, there we go. Maybe a little bit like this. Again, it really depends on the type of setup you're using the type of materials you're trying to get, and just overall outcome you're trying to get. But all of these mushrooms, as you can see, have texture, top, bottom, and whatnot. All of them will be nice as props overall. So I think that's pretty much it when it comes to mushrooms. These mushrooms are sorted, they're done. Let's go ahead and move on to the next section. Thank you so much for watching, and I will be seeing you in a bit. 21. Rock UVs & Triplanar for Seamless Textures: Hello and welcome back everyone to U V Mapping, boot camp Master unwrapping and texturing in blender. In the last lesson, we finished off with organic item section. Now we're going to move on with unwrapping, custom shapes. And this one is going to be somewhat similar to the previous one, but we're going to go a little bit more in depth with how to set ourselves up with patterns or more of, well, high level textures, in this case, quite literally, where there is actually a pattern that needs to be followed, and it's just not some random noise that can be just altered and play around with. Before we get into this, I'd like to play around with this shape, which is supposed to be a rock. It is actually a rock. It's just a simplistic type of a rock, which we're going to make use out of well to give it some texture. I'd like to start with this because I wanted to place this somewhere, but all the sections were just not suitable for this, and I figured I might as well have a nice grid of all of these shapes and have a rock as a first item. So first things first, what do we do about this rock? I'm just going to go ahead and duplicate it, move it off to the side, so we'd have a clear view. And let's start thinking about what can be done? Well, usually, I would do it either two ways. One way would be just to grab it the top down view as we did previously and just cut it across, like so as we did with the mushroom. However, in some cases, it would be decimated, like a bit of a nastier mesh. In other cases, you wouldn't be able to get that nice straight edge loop, as you can see over here, ignoring this edge loop that grows across, so but you might not be able to get that straight edge. And when setting up a rock, that might matter. The reason being is that you wouldn't want to jagged edged lines to be going across like this, you know, just do do do do do. So what would you do? Well, you could go to the top down view and make use. If we go onto Face Selection, click A to Select All. You can make use out of bisec. So with this whole selection for an object, go to Mesh Bisec and then drag your mouse across an object. This will create an edge loop, essentially going across the entire faces. We can then go ahead and just simply adjust some of those values. So, for example, if I set up y to be zero, it's going to go right across in horizontal value, or we can use this to turn it a little bit if you want. Or X is the values. We can also use this to, well, change or offset it if we want to. And also, there is a gizmo over here, which we can use it to kind of better visualize it. Like so simple setup. Just make sure to have none of these tick toned. Clear inner would basically cut it and remove the part. Same goes for the second one, and fill would allow you to fill in that mesh. We don't want this. We just want this edge loop like so. We get our edge look like, so we can right click and go to well, edge selection first, we can right click, Mark Sim and now we can select it, right click and use minimum stretch to get ourselves these two chunky blobs just like that. For the sake of this, I don't have a stone material. I think we can just use this wall texture to kind of visualize how it looks like. So I'll just real quick get wall cracked, like so, and just kind of place it anywhere just like that because concrete is very similar to just normal looking stone, especially if we're doing a stylized setup. So just like that, we're going to get ourselves pretty simple type of a result. If we start rotating it and whatnot, the seam is going to be barely visible. The reason being is that well, it's a noisy texture to begin with, and there is no pattern like we'd have with roof tile, for example, which would be very, very obvious over here. For that reason, that's pretty much it when it comes to the setup. Alternative way that I would do it is if we were to imagine, for example, a balloon wrapping an object, then you start cutting across it, it would start unwrapping, and the object would pop out of that balloon. That's kind of a way that I like to visualize it sometimes. So if we get a selection going across like this, maybe just make sure to get a straight line. But even if it's not completely straight, even if we had those jagged edges as we talked about previously, it would still be okay. Was once we do a selection that's around 50% of an object, we can mark SM like so, select it all and do a simple unwrap minimum stretch like this. You might want to play around with iterations a little bit if needed, but it's going to be pretty much as good as it gets. Let's use that same wall crack like so, put it somewhere just like that. And this is going to give us even less of well, seams, as you can see. And if we position it like this where the seam is at the bottom, you're really not going to see a difference. You can see me zooming in. And the rock, even with all those stretch the UV maps, it's not going to give us any type of an issue. Alternatively, I will start talking a little bit about projections in texturing programs themselves. So within substance Banner, I have this tiny little setup. There you go. Rock. So it's the same on wrap. It could have maybe made the size a little bit bigger to fit the entire space, but it will do for this explanation. And instead of just thinking about too much about, well, the stretching and whatnot, if I was to use something like this cobblestone material that I had previously, we can see that by default, it might be, well, stretchy. It might give that stretchiness on the sides and whatnot. But if I was to use projection from within substance banner, there is a change of projection. So by default, pretty much every texturing program will use UV projection, this too deep plane that we're always doing. But what we can do here is make use out of triplanar projection, essentially giving us this box over here, which will project from all the corners. This is basically the box projection that we saw previously within blender. But in this case, this projection is being used to apply texture onto the two D plane. And in here, we can control, well, rotation, for example, there is alternative offset settings and whatnot for each individual projection to just fine tune a lot of those settings like this. I really do recommend you playing around with that in a program. But the one that we really, really need to use would be once we are done with dialing, to use hardness, and hardness will allow you to blend in that value like this instead of just having those sharp Seems basically we're taking from one seam to another seam type of setup. If we lower this hardness, it's going to blend in the value, leaving us a very, very nice type of stony texture. So that's one way of doing it. Yeah, that's pretty much it. When it comes to rocks, there is no easy way of unwrapping them when there's just no stretching or nothing. There's just ways around it to make sure that we're getting something that would make our acid well, organic. So I can just change up, for example, to be maybe a concrete like this, try playing on projection again, increases to a value of two maybe, and then we go another version of a stone. No seams would be visible, nothing like that. And then, you know, if you want to get a bit of additional detail instead of just worrying about where the placement of those detail for the texture is, like in here, we could create our own detail by just, you know, using masking generators and something like a curve generator. Of course, we need to bake out those additional curvature setups over here. So by lowering this, we can get additional detail just like that. And, you know, we get some depth out of our stone. So, yeah, that's going to be it from this lesson. Thank you so much for watching. And now in the next lesson, we're going to start focusing on our roof tiles. 22. Stylized Roofs UVs, Frames & Shingle Rotation: Hello, welcome back everyone to UV Mapping boot camp, Mass unwrapping, and texturing in Blender. In the last lesson, we talked a little bit about rocks. Now we're going to continue on moving with the roof tiles. And I'm going to start off with this particular object over here instead of, you know, the usual order from this or this because I am a little bit of a rebel. Let's go ahead and just simply talk about how to apply this roof tile. Well, if you see a roof like this type of shape, it would be rather simple to do. We could just start off by usual Smart UV and wrap with high angle limit. And then we are going to select roof tile, like so apply it and rotate wherever it's necessary. Honestly, for this roof tile, you would just want the roof part to be only at the top. The sides, the back and all of this part would be actually wood. So what I will do is just simply select this piece, rotate it like this, maybe -90 degrees. Make this quite a bit larger. Something like this, nice tiles. The only thing we would be concerned about would be, for example, where the tiles start and where they end. So I would make something like this, reposition it a little bit, just like that, and there we go. Alright, for the sides, I'm just going to actually move this upwards. For the sides, the back, and everything else, we can turn this into wood. So let's go ahead and add this wood cracked wood. Like this, assign it, and there we go. That's all we would need to do. Maybe this part wouldn't even have the bases on the sides. Maybe they would be more like a frame, you know, made out of logs and whatnot, but we don't need to worry too much about that. This is going to be pretty much it for our roof. Like so. Now, moving on to this roof. This is going to be rather simple as well. The bottom piece wouldn't have much of a roof. It would be also wood, this piece over here. And instead, we can just simply use Smart UV project. You'll notice me doing that often. But in this case, you'll notice that this shape is being a little bit weird and that's because the angle limit is too high at this point. Let's start lowering it until we get this type of shape and assign our roof like this. And I'm going to just make the tiles smaller by making the UB larger, like this, maybe a little bit larger, even like so. And just like that, we're going to get ourselves to set up. You'll notice now that we have a little bit of an issue with tiles being a little bit over here, and this part is good, but to make sure that everything goes nicely around, we're going to grab these two triangles over here and move it, angle them up to be in the same spot. And now, they're all going to be going in that same well, the same tile. And that's pretty much it. If you want to, well, avoid the seams over here, you would basically add some sort of a frame. To do that, all we'd have to do, for example, we could create a simple cube, grab this cube over here. And just as a quick little example, I'm going to set it up for you guys. So this kind of frame is a real nice basic type of a way to hide it to hide or seems. So just like that. Like so. And I'm just going to make it smaller, just like that. The base part can be a little bit higher up, like so. After some tedious readjustment, we're going to get something like this. And with that, we'd be able to, well, have a nice frame on all the parts. So now if I was to use cursor to active, set this up to be just a bit of playing with Gizmo, precursor, I can then do Shift D R z 90, shift D R z 90, shift D, Rz at 90, and there we go. Just a bit of a modeling, but all in all, in some parts, it's just best to hide the seams out of the way. Again, with something like this roof over here, you would do something similar around the edges, and you would get nice result. And I know some of you would want to, well, get the base properly sorted as well. One way would be just to well, grab another cube like sew, mesh cube, and put it into this side over here. I'm going to just do a little bit of adjustment just like that. Something like se and there you have it. So we'd have a little bit of a way to hide those seams, maybe even put it in words a little bit as well, something like that. So that would be one way of doing it. Then we can just switch it up to wood and whatnot, set ourselves up with a nice frame, and we would have the right solution. Alternatively, I know some of you would ask, about how to get the tiles to be more in shape and just sticking out a little bit. We could totally do that. One way for that would be, well, if we were to grab this and I'm going to separate it by selection just to be as a separate piece, then I'm going to make this bottom piece quite a bit longer, like, so just stretching it out, not afraid of stretching it. We could, you know, unwrap it again if we want to but we don't need to. And then it would be a little bit of a tedious process. We would use a knife tool. By clicking K, and then by going around the shape like this, we could get ourselves some bit of additional detail. Could probably zoom in a little bit like this. Not going to spend too much time, but hopefully you get the point, you get the idea. We could get some basically avoidance of a straight edge that we have at the bottom. And a very, very tedious type of A work and a setup. But once we're happy with that, we would be pretty much finished. So we would delete the bottom bottom pase, and we'd get these tiles to be like so, just like that. If we want additional let me actually just get rid of this as well. There we go. All right. If we want additional depth, we could just simply, well, grab this entire edge. So I think that's enough. Actually, we don't need this edge over here or to E. Yeah, I'm just going to make our lives a little bit easier. We're going to select it like this. Click E, Enter, and then alternS and just move downwards. Not too much, though, because as you can see, it starts stretching out the tile itself. But honestly, if it's something super small like this, it's never going to be noticeable. You're going to see that the stretchiness is not even going to be visible only unless you zoom it really, really closely. So something like this from a distance is going to look pretty good, you know? Alright. Again, something like this could be done over here as well, but I don't want to do it for every single group. And even in this situation, you know, I would usually delete all of these tiles because I'm going a little bit lazy when it comes to this, and then use the method with weld selection for the precursor in the center, Transform per point to fred cursor, then use shifty RSt 90, shifty Rz 90, shifty Rs 90, and there we go. Now we have the tiles that are technically duplicates of each one of those weld sites. But you're never going to notice that. So repetition because tiles end up repeating itself, the uniformity is within a texture, and honestly because of that, we can get away with a little bit of an extra duplication, let's say. So yeah, that's going to be it for me. Thank you so much for watching. And in the next lesson, we're going to continue on with a couple of additional objects. So yeah, I'll see you in a bit. 23. UVs for Cylinders & Spheres with Pattern Flow: Hello and welcome back everyone to UV Mapping boot camp, mass and wrapping and texturing in Blender. In the last lesson, we went over some of the roof tiling. Now we're going to continue on with the setup, and this time, we're going to start off with the cylinder over here. So the top section, if we want to have a cylinder, it would be quite simple to set up. We use the same projection as we always do. Let's go ahead and just simply apply roof tile material like so the top section, we could just select the face just like that. Click U F ap, SmartUVPject, and there we go. We'd have it like this. Unfortunately, we'd have to rotate it if we'd want to have some additional controls. So if we'd have this selected, we could just rotate it around if it wants to be perfectly aligned. Or what we could do is if we'd want to have a perfectly aligned type of a pattern, we, we could create ourselves with an edge that goes right across in a straight line. But for that, you need to make sure that the topology is going to allow you to do that. So because we have the same amount of vertices on both sides, they are going to align perfectly. If a click J is just going to create this type of a line, like so so we have ourselves this line which we can now see it within our UV map because it's at end gone, it would be triangulated for a game software or whatnot. But because it's a flat surface, we don't really care about that. We just need to make sure that this is more straightened. So we could use this line to manually perhaps rotate it like this, and that would be good enough in most other cases. In certain cases, though, we would need to have it perfectly aligned. And for that, we would just simply select this line, right click and align vertically. In order to perfectly snap the item, what we could do is we could make use out of pinning UVs. So pinning is an interesting one. If I was just to select these couple of vertices like so, I can use Right Click to pin it. Meaning now if I was just to select this entire part and try to, for example, relax some of the parts, those UVs will never move. So using that, we can slightly adjust and tweak something. We could make use out of our unwrapped minimum stretch. This, as you notice, will still keep the pinning up on the setup. So if I was to make this a little bit smaller and try to unwrap it, you'll notice that it will still keep the same size because we had those pinned vertices. So if I have these, for example, moved around a little bit just as an example like this and unwrap it, because they were not pinned, they're not going to do anything, but these two, they're perfectly straight and perfectly pinned, and they're going to force the rest of the sus diss to go around it. So it's a nice little option to make use out of whenever you want just to have some additional control for unwrapping. So not only seams, can you make use out of seams, you could also make use out of pinning to make sure that whatever you did within the UV space is going to be kept in here. So for the sides we could, well, do a simple projection that is a cylinder projection, actually. But actually, I'm seeing that this part is giving us the wrong results. Looking at the edges, I can see that item is getting smaller UVs and whatnot. So I do know that it might give us there we go the stretchiness. So in this case, what I will do is just create Mark Sam click L with the UV selected and just rewrap it using minimum stretch. There we go. Oh. You might also need to do it for the top and bottom. Mark Seam. Now we're going to select it like so. And finally, there we go. Now we're getting something that resembles a little bit more towards the nicer result. The reason I rotated right off the bat is because I saw that it's not aligning properly. These elongated squares need to be going upwards vertically, and I'm just going to just in case select this and just see which side is top, which side is bottom. So I can see that this is the top, which is correct. Yes. Alright, so that's pretty much it for the cylinder. Let's move on to the sphere. You might be wondering when would you set up roof tiles for a sphere? There are some objects where you'd want more tilable of a look, and that's fair enough. One way you could do it, it would be similar to what you do with a rock, where you just grab an entire piece. I'm actually just going to drag it upwards a little bit, so where you would drag the entire piece across like this, unwrap it, and that might give you a reasonable result. But if we have a look at it with the tiles, it's not give me the option for a tile. So sorry, it's a roof, not a tile. There we go. If I was just to unwrap it with this setup, it would give me this, which is not perfect. So you can see the type of variance and distortion that we would get. So what could we do? We could just simply treat it as a cube. And what I mean by that is this object, if you notice, is not the usual UV sphere like this, instead, what we're using is the good old technique for setting the cube into a sphere, which you can do so by going into edit mode, subdividing it, setting this moveness to one, and then increasing the number of cuts to as many as you want. And that's going to give you this type of setup. And on top of that, the UVs are going to look like this, which might be quite all right. So if we have a look at it over here, before this mess, that is like, so we're going to see that we're having this cubish type of unwrap. So sometimes, reusing the same type of setup is also quite right. If I washes to make this quite larger, we'd get reasonable layout. And that in itself would be quite alright. And if you're wondering about, you know, the seams and whatnot, there are a lot of the cases where you would need to just simply hide them. To hide these seams, what we could do as a sneaky way we could make use out of these UVs to grab a selection. So by holding Alt within the edge selection, we can double click on one of the edge, and it will give you an entire selection going all the way around for where the seams are, which is pretty nice. But to get some consistency, some additional setup, you might want to get, well, some additional way or some additional framework that would help you out with this. What we could do is we could just simply hold Alt Shift and just tap on additional edges to make sure we have a certain frame selected like so. And with this frame, what we could do is we could hit Shift D, escape, and now we have another frame like this. We can then hit P, selection separate, and we have this little thing. If I wash selected, like so as a separate object. With this, we could use something called skin, and skin would allow us to get something like this. Or alternatively, if we want a little bit more control, we could turn this into a curve. If I was just to go on to object, convert to a curve, then we're able to have this as a curve like this, meaning that it's not a geometry, and we're now able to use out of this curve data. With it, we can use bevel to maybe add a bit of a bevel like this. We could turn this into, like, a metal or something, and we'd get ourselves nice set up. So again, sometimes it's all about just hiding the UV and now the seams that were visible are not going to be an issue. It's just going to look like part of an object. Unfortunately, with such an organic shape like this one, like the sphere, that's my best recommendation that you could get out of when creating a pattern for a roof or something like that, just to simply hide the seams. And yeah, that's pretty much it in regards to this. We are now going to move on to this part over here, which is something that some people would definitely like. It would be more for castle roofs and whatnot. Let's leave that though for our next lesson. Thank you so much for watching, and I will be seeing you in a bit. Oh. 24. Cylindrical UVs for Castle Tower Roofs: Hello and welcome back everyone to UV mapping, boot camp, master and wrapping, and texturing in blender. In the last lesson, we left ourselves off with more organic type of a shape this sphere over here and just hiding some seams around it. Now we're going to move on to, well, certain Castle tower type of rooftops. Let's go ahead and make use out of this to set ourselves up with roof tiles. So the reason this would be more interesting is because you might be wondering, how could you set this up? How could you make this work? Because, well, if we were to use simple unwrapping for the top section, or, sorry, for the side sections, or, like, so using well, we could use actually start with unwrapping like this. So I'm just marking seams and grabbing this for a minimum stretch. Like, so you'll start noticing that there are it changes to rooftop like this, there are some issues, and those issues involve tiles not being properly aligned, not being properly covering the setup as we want them to, which is fair enough. The other thing that we could do is if we were to unwrap this as a where is it cylinder projection? There we go. It's going to give us more consistent type of roof. For cylinder, for some reason, it's not giving the right setup. It should go all the way around, and I noticed that actually with cylinder as well, and I just realized the issue that we're having for some reason, right now, it's being using precursor as its main projection point, meaning that it tries to do wrapping around this object and it tries to encapsulate this object as well, and then it starts stretching all the vertices in a weird way. Uh, to avoid that, just make sure you have transformed pivot point change to individual origins. But there you have it. It's just based on transformation origin, I suppose, cylinder projection. There you go. Now it's going to give you a more accurate type of setup going properly all the way around the selection. So that's what we want to see. And we have ourselves this square over here. And this square over here is quite nicely fitting for the 021 UV space. But we're going to have some issues. The top parts are going to be stretched out, or sorry, squished in, and the bottom parts are going to be stretched out. How can we negate that? Well, for Cats, we could try making a shape that would be very similar to what we have in the UV setup, making parts of the top to be smaller. Before making a selection like this, I am going to tick off this UV sin because as you might have noticed, if we have this selected, this top section also have those same vertices. And if you try to scale this downwards, it's going to also affect the part at the top. So to avoid that, I'm just going to simply click this off, have this selection only, and now we're only working with this. Now we can just make the smaller bigger. It's not going to affect the upper section. So as I mentioned previously, we could try to match it up a little bit to have this quite a bit smaller and it's going to stretch everything out. And then afterwards, we can select it all as X and then we'll increase it like this until we get proper form back, which actually would be quite alright. My recommendation, though, is instead of just trying to scale the upper section right off the bat, try to scale it up in halfway. So it would stretch out. And then the bottom piece, scale outwards halfway again. So basically, you're just scaling by 50% and the bottom piece by 50%, just to make sure that right off the bat, you're going to get this shape, like so and then you can just scale it the entire oh, sorry, scale the entire part to get a nice consistent setup. So it's just a little bit faster of a process. Scaling the upper a little bit and scaling the bottom a little bit instead of trying to scale the upper section right off the bat. Alright, so that's going to give you a nice setup just like that, but you still might notice that, hey, we're still getting this stretchiness, especially if we try to make this a little bit more resolution. We're still going to get those tiles to be smaller and smaller and super small at the very top. And that's unfortunately the way it is. If we want to make this, well, if we're squishing this in UV and making the tiles larger at the top, it's going to be quite right. But if I check the side, where the side is there, go this side over here, we're going to have a tile. So the tile is going to be reckon, more visible, especially when we are stretching out those UV tiles a little bit to make sure we have the same uniformity. Unfortunately, and we can see that the tiles start going sideways, so I'm just going to right away pick that up, like so. So just making sure that it's nicely set up. There we go. Much better. So there isn't an easy way of fixing the tile issue for the seam, unfortunately. My recommendation would be to simply grab a couple of seams if I was to go to top down view. I'm going to select four seams in between like this, make a duplicate and essentially do the same thing as I did with this sphere over here. So going to hit Shift D, P, separate by selection, then select this part over here and convert to curve. Curve. Then we can use the bevel depth. If we want, we can change to use extrusion instead. So that would give you a nice little setup, maybe even offset, doesn't seem to work quite as well here. And then afterwards, we could have a nice little bevel or even we could use something called solidify, there we go. So solidify would give you those nice little planks over here. And just like that, we would have something like so nice little planks going across our roof tile. Maybe some decoration at the bottom as well, maybe even, you know, cut it up into four chunks and set it up something like this, as well. That would be quite nice. My recommendation for this little upper cap would be to just simply create a different separate cap. You would just delete this upper section like so, so you wouldn't make useless use out of faces. Then you could just grab a circle with lower oriscunt something like nine will do. Reposition our setup to be right above or tower top because honestly, you wouldn't have tiles at the very top. You would have something that would cover up and maybe even have a tile or something, sorry not a tile, a flag or something like that. And once you have it, so you can click F, extrude it, maybe bring it inwards, something like this, and just, you know, adding as much detail as you want. And once you are happy with that, you're pretty much set to go. You can also just, you know, select these go to convert mesh because it didn't seem like it was properly offset. So I can just readjust it to make sure that it's a little more aligned with the tower itself, something like that, and there we have it. We got ourselves a very nice type of a rooftop for medieval settings and whatnot, all of that good stuff. Maybe afterwards, you'd want to maybe make some adjustments, maybe put it inwards or something, just a bit of an extra detail out of this prism. But that's pretty much it. So, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 25. Substance UV Projections & Efficient Layouts: So And, or, welcome back everyone to UV mapping, boot camp, mass unwrapping, and texturing in blender. You thought this section is over, but it is not. I'd like to go on to substance painter real quick and tell you a little bit, what if we just, you know, dump over with much of unwrapping? If we have a look on some of those textures, it's going to be just basic, very basic textures. So some programs allow you to change up just like we did with the rock, triplanar projection. So programs allow you to do some projection in within the program itself. But it's not going to project or change UVs in any way or form. For example, this cylinder that we have over here just has default cylinder type of a mesh. If I was just to apply some sort of a tied material, let's say this one over here, why not? And I'm just going to increase it like this. We're going to get ourselves this result. But let's say we want to get the same result over on over here. If we have a look at the setup, it's going to have some cheeky automatic UVN wrapping, which you might think, like, Hey, it's not going to be quite alright. It's not going to be good enough for roof tile setup. Well, as a matter of fact, we can just apply it. We can set up the projection to be where is it cylindrical projection, and I'm going to go to the top down view, realign where it starts projecting like so. Just a little bit more maybe, like so, and then increase tiling. And right away, we're going to get this kind of result. So it might not be quite the same. But if we start changing up the tiling, if we start playing around with the sizing like this, we're getting more and more similar type of result, and we can even stretch out the projection as well. Get basically whatever we want in this case. So, honestly, it can give us very similar results, but as you can see, over here on the top, it's still going to give us some issues with the pinching and whatnot. So it might not be ideal, but if we're covering up the top, it might be more than okay for a nice visual result. As for something like this roof over here, let me show you an alternative. If we were to set it up, so might not be getting the right kind of result because this was used with automatic UVs. We can increase the size, sure, and it might almost be good enough. But if I was to do something a little bit better with more control, I could change my projection to planar projection like this, and it's going to start giving me, well, a projection that goes one way, and it's going to give us perfectly straight life of setup. And we might need to make this quite a bit smaller like this. So we get it looped a little bit more. So both sides now are sorted. I could make a duplicate out of this, could make some masking setups just to play around with it. So right now, if I was just to add a black mask and add white only for that projection side, we're going to get this result. Now for this part, if I was just to rotate it, what is happening? Going to disable the previous layer and rotate it like this, and now it's going to start projecting it in to the front and the back. So what essentially I'm doing over here is basically having some controlled projections. The first one was projecting on the sides like this, back and forth, and we're using masking to cover up the unneeded projection sides, just like that. And the upper one, the material on top, we have used it to do the same basically but inverted values. And with that, we're going to get ourselves, well, somewhat of a nice type of a result or our projections. The parts on the side, though might need to be covered up, but they're going to align much, much better with total setup, especially because if we have a look at this, we had the same issue previously where these tiles were upwards, so it's not going to give us the exact same type of setup where if we were to put it sideways horizontally in the same row, they would keep that same pattern yeah, even when we have the UVs somewhat placed oddly, we can still have some additional control with them if we're using certain texturing software. We're going to have lots and lots of UV space left, but you know what? It doesn't always need to be completely filled in. Sometimes, if we are working on smaller projects, it is acceptable to keep UVs like this, as long as visually we are getting the right results, exactly what we want. Now, one thing I would say with unwrapping is that we really, really need to make sure that we are having the UVs positioned at the bottom left hand corner. And basically, you can imagine that the rendering buffer, whoever reads the texture, the GPU of the program will start off by reading the UV information from the bottom left and corner, and it would do pixel by pixel go in rows, or they would sometimes do like parl in chunks. But Ivo boy they would end up grabbing some rows from the bottom upwards. So if you are to leave some of the UVs UV space, you might as well leave the upper sections, upper writer sections. These are the parts that get red last. So if we are having UVs that end up being red and nothing needs to be read at the top, it's just going to be a little faster and a little more optimized. Or alternatively, you if we want to be super cheeky, we could just upscale this even if we're not going to have the same UV size as this bottom piece over here, because this bottom piece might be, not as visible, we would be okay to just lower it down, put it in a corner somewhere, and that would be acceptable. Because, again, this part, as we talked previously with the first roof, it wouldn't realistically be a roof tile. It would be wood. And if we want to get more resolution out of roof tiles, we could just keep the wood at a bit of a lower resolution, and that would be totally acceptable. So, yeah, hopefully, that's right for the roof tiles. We're now going to move on to yet another section. Thank you so much for watching, and I will be seeing you in a bit. 26. Directional Noise Mapping for Chains & Wood: Hello. Hello. Welcome back, everyone to UV Mapping, boot camp, mass and wrapping and texturing in Blender. In the last lesson, we left ourselves off with the previous stage. Now we're going to move on to directional noise and rap. Now, before we get into the texturing, I'd like to talk a little bit about non directional versus directional noise. Directional noise itself is what I would call personally the type of material that would be something like this with over here where the noise of a texture ends up going in a single pattern. That was also true with the previous material we use, which was tiles. So you can imagine the tiles had a certain grid, and you can only have a flow that goes in one direction. Now, with something like metal over here on the right hand side, have well, just random type, seemingly random type of noise, which allows you to, well, rotate this material left and right, and you're not going to see any type of difference. And that also gives you a little more control with UVs, a little more freedom that is because with UVs, sometimes you can distort it a little bit to the right to the left, depending on the mesh, which I'm going to show you in a bit. And it's not going to change the pattern. It's not going to change how it looks like, but it will help you to pack everything up into that zero to one UV space that we all love. So let's see how we can do that. For starters, let's start off with well done wrapping process. Let's get ourselves this little window over here. And start wrapping. The first thing that I like to do is once we go on to Edit mode is select the whole setup and then click and Project from view. I also make sure to have my camera slightly slightly sideways like, projecting from view. And this way, I can have this entire selection and just move it off to the side just like that, simply because it just helps me to organize what has been unwrapped and what hasn't beforehand. The next thing would be to make use out of, well, UV sync selection. This is my favorite piece, and most of the time would use it. Now I can just deselect everything and just have it off like that. So we're going to start off with the chains. The chains will allow us to make use out of the metal material. And actually, before doing that, I would like to go on to Material tab and just quickly apply the previously created checkerboard that we had just like that. So we could see what hell is going on, and you can see, well, it's not perfect. It's nothing close to perfect yet, because everything's stretched out because we don't have any proper UVs from this. So, let's start off by just clicking onto the Face Selection and selecting all of these little chains over here, just like that, all the way to the top to the half link as well. And I'm going to click on all of them just like that. Once I have it, like, so I'm going to just move the chains to the middle part or actually just right above the middle part. And I usually just click Shift and H on the viewport just to hide everything out of the way and start working with them. So how do we unwrap the chains? Well, you can start off by finding the seams, setting it up with some seams. So for Saras, these parts at the bottom and a top these four parts over here, they're not going to have anything. They're like half doughnuts and the bottom has no face. So it's hollow. All we need to do is basically tell where to start cutting. And the best part for those kind of setups would be always on the inner side. So on the outside, it's not going to be quite as visible. If we were to mark seam over here, we can pretty much do it for the rest of them. So holding m, just selecting it, making sure it goes all the way from back to forth. Marking seem like so and just like that. We can also just holding Shift, select both of them at once, Mark Sam. Just like that, we got the same set. Now we can do the chains as well. I'm only going to do one side for now and I'll show you just how to unwrap it. Let's go ahead and go on to edge selection, hold Alt, and do the same type of selection on inner side. So I'm just making sure that every single piece is having that edge loop. Holding Shift and Alt will allow us to do that. Like this, I believe that's all. Yep, just checking. We can also click G real quick just to see which vertices are selected and then hit Escape to make sure we're not actually moving anything out of the way. Then right click Mark C and there we go. Now, unlike this half of the doughnut, we don't have a place where it cuts it out to flatten it. It just tries to unravel this, but it's not going to put it as a tu plane because we need to get ourselves this edge loop going across on itself, like so. So for that reason, I'm going to hold Alt and just use some Oh, going to click Control Z because that's the wrong selection. Just like that, we're able to select those kind of pieces like this. We're doing it on the bottom. It can be done also on the top up to a personal preference. But actually, sorry, no, the top is not going to be quite as great because it doesn't have an edge loop over here. The bottom does have it right in the middle. So half of it is already going to be hidden. It's going to be a place where it's less seen or least seen. And with that selection in mind, mark SM and there we go. Now we can click Old Z, select this entire piece like this and use the unwrapping minimum stretch to get this type of a setup. I'm going to click Old Z again. We have this piece and this piece on the top. It might be a little bit different for you, so we can go ahead and select both of these and just move it off to the side just to make sure we don't switch them around, and I'll show you why. But for those pieces at the bottom, all of these over here are going to be the doughnut shapes, essentially, these chain links. And already looking quite good with the material, with the checkerboard, you might notice that it is a little bit zigzaggy. And because it's a somewhat low topology, we have some really straight or really fast type of a bends if we want, we could, if we have some specific alignment that needs to be going straight, if we wanted to be wood, for example, we might want to make use out of the what's it called angle based? Angle base would allow you to preserve that a little bit more like so, but even so it seems like it still wants to well, not follow the direction completely. Honestly, the best way would be to either break this down into multiple uh, UV islands into even more islands, that is, or increase the apology because such strong sharpened sections would allow the UVs to be a little bit more deformed and avoid those exacts over here, as you can see. But the main way for us to do now will be to make sure we optimize the UVs a little more. And the reason we want to optimize those UVs would be if we have a look at the UV section over here on the UV Islands, you'll notice that they're not perfectly straight, meaning that we have a whole lot of space in between them. And if we're packing them up nicely and tightly, making use out of every type of pixel that we can get, this would not be perfect, and luckily for us, there is a way for us to fix it on Blender, although we would need to make use out of U squares add on. If you don't have the UV squares add on, you can just simply Google it UV squares, like so, and then just find the Github. Download the code as a zip, and you'll be able to just install it into your blender by going into Edit preferences, add ons. And within here, you wouldn't have to click on this arrow over here, install from disc find the zip, you download it, and then once you install it, you should be able to just search for UV squares and find it over L S. Once you have it installed, you should be able to within your UV space, click N, which will open up this little arrow over here. So by clicking N, you can do that, and you'll find yourself this tab called UV squares. Now, UV squares is pretty good, but realistically, we only need to use it for one purpose, and that would be to turn it into, well, squares, UV squares. And this will allow us to change the UV shell into a grid. You can use it either this button over here or click Alt and E. So if I was to select one of the one of the islands in pay selection, we can click Alt and E, and actually you'll see at the bottom, disable mesh sync. So just make sure you have this disabled, and now you can click on it, and there we go. It's going to turn it on, like so. You can do it for multiple pieces. So if I was to just real quick make a selection for this side, you can go ahead and once you have a selection because we don't have the UVSnc selection, once you have the selection on the viewport, you can now go ahead and just make selection just for these parts over here, like so and click Alt and E. But honestly, the more Vishals you have, the more likely it will fail, fail you essentially. And it also only works realistically when you have squares, when you have just simple squares. So these parts over here, why we're not using it on them right away, is because we have triangles. If I was just to select it and try using Alt and E, it's going to break it because it will try to put a square into a triangulate space and will be messy. We don't want this. We don't want this happen at hole, so that's that. This part, on the other hand, seems like it would work. Let's go ahead and see it. And yeah, it works reasonably well. You can see our UVs now are properly tidy. We still have those little zig zags. But now, if we use the metal, yeah, iron dark. That's the one. Let's go ahead and click on the plus symbol once we are in the sign and select metal dark. There you go. Oh, that's not it. Iron dark. Sorry, there we go. And now let's click a sign, and we're going to get this medal. So you see, even with those exacts previously seen, we're not going to see any issues even when we zoom in. So that's that although I will say this though, if we have something like, let's try using Window wood. So this part, if I was to add the material window wood and assign it over here, you'll notice a little bit more of issues. And the main issues is because, well, low topology will start having that flow of having well zigzaggy shape. Sometimes it's okay, though, well, if you want to make it look like the wood has set up in small chunks, it would be okay. But in other cases, you would definitely want to have it wrapped like this. Perhaps that would be a lot. Oh, that's not it. Sorry about that. Let me just use minimum stretch. There we go. Something like this would be way better, even if we still have those angles, they're a lot softer, in my opinion. So that's that now, going back to this, if we have a look at our chain with the proper metal assigned, we'll see that. Well, again, it's totally fine. And that is why when I think about objects and unwrapping them, how I am unwrapping them, I really am considering whether they have this directional noise and whatnot. If they don't have a directional noise, we're able to work with certain different assumptions. So, for example, here, were able to pack them up nicely in squares. They're going to be much, much better unwrapped. Packed into the UV size because we can fill in more of those spaces. So, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 27. Mirroring UVs with Magic UV & Symmetry: Hello and welcome back everyone to UV mapping boot camp, mass and wrapping and texturing in blender. In the last lesson, we'll left off ourselves with these chains, which we're now going to make use out of them to set it up on the right hand side as well. And I will actually show you two ways of doing it. First of all, the first way would be just to delete one section and just duplicate it or mirror it onto the other section. And for us to do that, we can do it like this. We can go into Edit mode, have this part deleted and then mirror it onto the other side. For us to do that, we need to make sure that the mesh actually has a certain symmetry. So within object mode, we can see that although we do have some junkiness with some parts and whatnot, if we have a look at it from the front view, we can see that one side is identical to the up and we only need to actually focus about the chain itself. So this part is located directly on the other side as well, and that's exactly what we want to see. Don't have any type of changes on this chain, so we can just reuse the topology and mirror it. All right, so how do we do it? Well, first things first is we need to identify where exactly the centerpiece is. We're going to be using this origin point over here, so we can either click Select This Object and use shifts and use cursor to active, which will give us this free D cursor to be placed on the origin point. Let's say we don't know where the origin is. Let's say we have set origin to geometry or something, and for some reason, it's a little bit offset or maybe we don't know if it's perfect or not because there's some variant in offset for the wood or something like that. Well, what we can do is we can go onto the object onto Edit mode. We can go ahead and just select one piece and then another piece on that same section. Basically, those two faces are placed in the same identical location, which will give us the median point which will be in the center. Then we can use shift and S and use cursor to active. Or sorry, cursor to select it, and there we go. This precursor is going to be perfectly positioned. Now we can go ahead and I'm still by the way, making sure that only the chain is visible. Just to make my life a little bit easier, I'm going to click Old Z and just delete this part, this outside of the mesh. Let's go ahead and just delete it, and then afterwards, we can select this and hit Shift D Escape. So we have this duplicate like this, going to hit Escape, making sure that it's in the same place. Then we can make use of the transform pivot point to be placed as free decursor and use a X minus one, or sorry, S Y minus one. We're just looking at the Gizmo on the top. So see which parts from minus Y to plus Y, we're essentially inverting it, and just like that, we're able to invert it. I do recommend you checking the phases as well. So if we were to go to phase orientation, they are inverted. Let's just click Shift and N, and that's going to fix it. Now we're going to have these pass to be overlapped with one another. So these parts are a duplicate of one another. We can actually even move it out of the way, and that's going to be quite alright because we now have them all nicely compact. That's the word I was looking for. And the alternative way, though, I'll show you the alternative way. And that would be to make use out of something called magic UV. And for that, we'll need to go on to preferences, search for magic UV. Which I don't seem to have. Let me just go ahead and just go to extensions. Search for Magic UV. There we go. So within get extensions, just click Install. And once it is finished, we can go back to add ons. And we'll have magic UE. So what can we do with magic UV? Well, we can start off by grabbing a selection just like that to make sure we have, well, the selection. Then use out of it, we would need to have identical object as a separate piece. And what I mean by that is this is just one object and we're using we're just editing its faces, its UVs and whatnot. But in order to make use out of the well, UV magic option over here, magic UV, we would have to make a duplicate out of this. So let's go ahead and make a duplicate. I'm going to hit Shift D, going to hit Escape, P, separate by selection. And now we should have, there we go, a separate piece. And for the reasons of the showcase, I would like to just move it outside of the setup. And let's say, you know, you have this nicely set up already packed up so we can, you know, pack it up or actually, I will make another duplicate for this case. The reason being is, well, I want to pack the islands like this into UV space. And how everything is nice. And let's say, Hey, we have another object that's identical to our previous one, but all of the UVs, you know, are a complete mess. I don't know, we can just use project from you and it's just like, Hey, this is a mess and this one is not. How once we're done modeling, how can we place the UVs from one object to another? There is a way for us to do that. And you can imagine, for example, windows or well, multiple signboards being already modeled, place all over the scene, and we need to make use out of this tool. We can go ahead and select the object, select all of its pieces, click U, and then there's going to be copy paste UVs. Again, this is because we have the magic UV installed. It wouldn't show you otherwise that stuff. Then we go on to copy paste UVs, copy UV map, like so and at the bottom you see 573 phases copied. We were to go to this part, we can then select it all and hit U, copy paste, paste, UV map, and then it's going to be giving us that identical setup. This only works, though, if the object has not been tampered in any way possible. And what I mean by that, that includes the stuff like simple deformers and stuff like that. If we start using even a little bit. And, you know, if you apply it. So even by just having a value of 0.01, seemingly identical type of stuff, we can apply this and now try to apply or sort paste the UMp will well, in this case, it actually quite work. I noticed personally, I tried using some deformers when it has like a curve deformer or something on a bridge. This type of setup wouldn't quite work. They have the objects have to be just placed and, you know, not edited in any way. So I'll try visualizing a little bit. For example, this chain would be a little bit longer. Then I try to paste the UVs, paste UV map before I will just unwrap it like this, then paste the UV map. And it still seems to work, so that's good. But again, just make sure to be wary of that. It only can be or only most of the time, we work with just duplicates. So if you have multiple, for example, chains, you know, placed on the side as separate objects, you can then just UV and wrap one object and paste the UVs onto multiple other ones. So just a little bit of an extra information for general use. Now we're going to move on to our section. So we're going to end our lesson here. Thank you so much for watching, and I will be seeing you in a bit. 28. UV Straightening for Curved Wood Planks: Hello, and welcome back everyone to UE Mapping Boot camp, Master and wrapping and texturing in Blender. In the last lesson, we left all cells off with these symmetrical shapes for the chains. We're now going to move on to the upper section of this log. Let's go into the Edit mode, hit Alton H, and Alt and Z, if you're seeing through your mesh, just like that. All right. So let's start off with this log. I am within my UV sync selection, like I always am because it's a lovely little thing. With this selected, let's hit Shift and he and work with it. For starters, it doesn't have end bits, so it's a little bit easier for us. All we need to do is just tell where we want this to be wrapped. And for that, we are going to go ahead and select the edge. So holding Alt, we're just going to tap on one of the edges like this, and it's going to go all the way across, hopefully. Like so, but it seems to end over here. So I'm going to hold shift and just select it like this, just to make sure it goes all the way across like this. If for some reason, it doesn't go because in this case, there is a bit of an bevel issue, honestly over here. I do want to actually fix this beforehand. But in case there are issues when, you know, it doesn't go all the way through, all you can do is essentially just select one starting point of an edge, go all the way to the top, sorry, all the way to the end. Control and just tap and it will pick the shortest path, just like that. Mark seem like so, and there we have it. This part I definitely want to fix now. Let me just go ahead and select these. Click, Car lapse, merge at last. Like this. There we go. All right. What was I saying? So we have this wood log section. Right away, I'm going to change this to be wood material. So I'm going to pick this darker wood, which was called planks. It was used for planks wood. So that's why it's used like that. Let's go ahead and click on plus symbol, select planks like this and assign, and we're going to get ourselves this solution. So if we were now to use unwrapping as a minimum stretch, we're going to get this setup. Notice how the texture is going one way, but it is going an other way visually. This is because of the Shada setup. So I do want to let you know that not always is going to give you a perfect type of identifier for what the UV is. In terms of the image being used. So if it is bothering you, you can easily fix that. Simply go on the Shader and within here, if the rotation is set to zero over here, you're going to be able to get the right type of a setup. So now if we were just to rotate this, we're going to get it like so. Again, I rotated Shader in here, even though personally I see that the image on the UV editor is wrong, I still know that it is going vertically. So that's my quick way of fixing materials in something like blender, simply rotating them in shader mode will allow you to do that. So that's something for personal knowledge. Yeah, I don't like it. I don't like the UVs going horizontally. If you do like it, if you don't have much of a preference or whatnot, go ahead and use it as it is for me, though, 90 degrees, having these UVs going vertically like this is much better. We're going off the topic a little bit. Here, we're here to talk a little bit about the plank of wood. So right here, as we talked previously, the directional noise, this is the directional noise. And because the plank is not perfectly straight, it is going a little bit wonky when it does unwrap the setup, it's going to try to adhere to that. And for that reason, if I was to scale it upwards like this so we can see the flow a little better. For that reason, we see that the flow is somewhat trying to follow the entire setup, but it's not quite there. So we can one way of fixing it, we could just use Alton E. Again, the UV sync turned off Alton E to help us out a little bit over here, and now we'll turn this back on. And this will allow us to have straight UVs, but because the entire mesh is warped, it's going to try to follow the setup a little bit closer. So the entire pattern of the wood ends up being a little bit bent as well, which is exactly what we want. If we are visualizing the way the wood was made, for example, over here, there are essentially two ways that can be done. You can imagine, for example, a massive log being like this, and then out of it, it would start using X or something to just carve out the mesh into something that would have a bit more of a curve. Or alternatively, you can imagine that the wood itself sometimes can be bend a little bit. There are some heat treatments for more modern type of furniture that would allow you to bend the wood, giving us that sort of a bend more and more. Over here, of course, this is more of a stylized type of a sign. But, for example, maybe it was having some weight. You know, there is some weight attached to it. So because of that, maybe it was bending a little bit inwards or something of that sort. And it was just giving us that extra weight. So this entire piece, ends up being weighted down. And for that reason, the entire flow of the wood really needs to follow it. And that is why unlike the chain, for example, where we can have it somewhat random. And even though we turned it into UV square, it's not like, crucial. You can sometimes leave it as it is, and it's totally okay. In this case, though, you would definitely need to make sure you straighten out those UVs and have the UV itself follow the entire wood flow. And that way, the mesh itself will have the flow of the grain of the wood. So a little bit tedious of an explanation, but it's really, really important for that kind of stuff. When you're working with, you know, multiple pieces within a prop with multiple materials and whatnot, or you're planning to texture in something like substance banner, you really need to consider how each object is going to be, what kind of material you're going to be applying, even if you don't know the entire a type of color grading or whatnot. It's important to kind of determine whether you want to use directional or noisy type of texture. So going back to the setup, we have ourselves some wood on the sides, and I reckon we can start working on our upper section as well. Yeah. Seems to be quite alright. It's going to be the same type of setup. So I'm going to go on to Edit mode, old and age, bold Z, to make sure we are not in C fru mode. Then let's click L, select it. And yeah, shift in H, like so. So this time, it's going to be a little bit different. So we have that same squarish type of a pattern, but the end bits are a little bit harder because they're going to be curved. Also, we do have all the bubbles in, so stat. And yeah, I will show you my passes way of just sorting this out this hunk of wood. Let's go ahead and click free into the face selection, and then double tap A to select everything. And then the first thing that I'd like to do is click C, which will allow us to use something called select Circle. I believe that's what it does. That's exactly what it does. So it's a little shortcut. If we click and hold on this, we can select it manually or you know, clicking C will allow us to get this, which you can use scroll mouse wheel up and down to scroll it up. You can hit Escape to go out of it, or you can use left mouse wheel to select, sorry, left mouse button to select and middle mouse button to deselect. So these are basic options that it has, and using it, I'm just going to go ahead and just drag it across with a small selection like this, save it like so. Then we're going to click Control plus to make sure we select these edges on the side and hit rap or just to future proof it, we could also do seams. But now, though, let's go ahead and just unwrap it. Normally, we don't need to overwork ourselves minimum stretch like this. Then we have the same setup at the bottom. So I'm just going to double tap A, make sure everything is selected. Make a selection like this, and then Control plus like this, make a selection grow. And yeah, unwrap minimum stretch like this. Doesn't matter if it's let's make sure we have proportional editing turned off. Let's not worry about the placement just yet. Like so. But once we have it like this, what we can do is we can just simply select it within the UV section, hide it out of the way within our viewport, and click seven to go to top down view, click Old Z to make it transparent, and this is the wrong selection. Needs to be box selection. Sorry about that. There we go. Let's go ahead and select the front, the back like this. Let's make sure no other phases are selected, which they're not. And now let's go ahead and click Unwrap unwrap minimum stretch. It's going to be right. Like this. And finally, we got these two pieces over here, which we can also unwrap minimum stretch, like so. And now we can click Alt and He Alts to make sure it's not transparent. Select this entire part and just move it out of the way. I don't really care about the sizing at the moment. We can leave it as is and worry about that later. But yeah, that's pretty much it. The only other thing that we can do is, again, because it's wood. So if we assign this as wood, it's not going to follow maybe the grain just as well. I'm just going to make it a little bit larger just to see. So to make our lives a little bit easier, let's go ahead and just select all of these parts. Actually, the top and bottom are okay. We just need to select this as UVs, so clicking L, selecting front, selecting back, and just making sure that it doesn't have any triangles, which it doesn't. Let's turn off the UVs selection, Altne. And now it should have a bit of a nicer flow. There we go. And the top and bottom, we don't need to unpack it too much. It was quite right as it was. I think, honestly, this is quite right. Let's leave it as it is. But it would work, although these parts over here, maybe it wouldn't, they seem to be quite working as well. I don't like them being wrapped like this because, well, they don't need to actually. The flow of the wood is going quite well. There is some thickness, for example, over here in certain parts. So this part fickness, let's see where it is. The bottom over here. If I was to straighten it up, it would have a bit of distortion in this directional flow. I don't want to see that. I want to make sure this is more of a straight for the bottom and top, but only has a bit of a curve for the front and the back, and I think that's going to be much much better. Alright, so that's going to be it from this section. Thank you so much for watching and not section. We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 29. Smart UVs for Hinges Wood vs Metal Strategy: Hello, and welcome back everyone to UV mapping, boot camp, master and wrapping and texturing and blender. In the last lesson, we left ourselves off with this nicely bent wood. We're now going to continue on with the setup. And actually, yeah, don't worry about this being a different size and whatnot. We're going to fix that in the future. Let's move on to these hinges over here. Yeah. That's what we're going to move on to next. Let's go ahead and select them all like this. So these on the top, and these at the bottom, just like that. Let's click Shift and H, just to hide it out of the way and see what we're dealing with. So the first one is going to be just like a simple square. We can go ahead and just select the square in the middle, click Control plus and then use that to make our Sams. So the way we can do it is we can go on to edge selection. So edge selection, then select loops, boundary loops, Mark Sm just like that. That part I'm going to go ahead and make some selections at the bottom and over at top, I'm not going to keep it as a ring because I know this is going to be metal and I'd prefer to just have it as four pieces like this. This is also perfect viable option. It will give you a little bit more of extra islands, but not too much. Honestly, Evoway would work fine. But this part, this is a little more interesting, so we can ever do a quick selection. Like, yeah, we can even do it like this. So holding Alt and Shift, I'm just going to select it like this, just like that. Making a couple selections mark seem and this way would give us a oh, sorry. This way would give us a minimum stretch if we were to use it would give us this kind of unwrap. This kind of unwrap for a metal would be somewhat reasonable. There would be some stretches a little bit, but all of the texture would be applied just like that. The next one, let's just use it as an example again. The other way, I'd say, if you're using it more for a wood, let's say, we'd have to set ourselves up with additional mesh pieces. The reason being is that if you're imagine, for example, a wood made out of multiple pieces, this type of ring made out of multiple pieces, you would have to combine them somehow. So if you're thinking, for example, something like wood frame, it would be combined over at edges. However, we wouldn't be able to split that off over a edges, and it would be extremely hard to do some texturing otherwise. So what I prefer to do is I prefer to just join these pieces over on the edge, just like that. Just like so on all the ends, so we're getting those diagonal lines. Let's do it for these parts over here as well. And just for my easier accessibility, I'm just making sure that this line, if I start at the top, so this is the upper vertice, and this is the bottom, if I start at the top, I would use also the upper vertico here as well. And just like that, we're able to get this kind of setup. So this way, we're able to make a nice little selection. If I was to use Old Z, I can just make a selection like this. Let's make sure we're not touching the upper ones like so. So we can just reposition our camera and do a selection, something like this. Hold shift. We can redo it if we want to like so. And for this part, I think we just have to do it manually. So clicking C, making selection like this, nice little bit of selection. So what I'm doing right now is I'm making sure that selection we're having is basically allowing us to split off these parts into multiple chunks. And just like that, we'd be able to get ourselves this type of a seam, just like that. All right. Next up, a selection, loop, boundary loop, and right click Mark Seams. Let's see how this would look like. So I'm just selecting it all with linked normal, unwrapped minimum stretch, and this is what we're going to get. If we were to check it with wood, so quick assignment, we'd see what I mean and this is not exactly what I mean. I just realized I made a huge mistake. I forgot to make a proper selection over here. My bad. Let me just control z real quick. There we go. Click free and just undo selection over here. There we go. Just quick fix. Loops, boundary loops, Mark, Sam, and now we're able to click L wrap this with minimum stretch, like sew and a sign of wood just to quickly showcase this. And all of it is mostly set properly except for, no, no, this one, this one, yeah. So if I was just to select this one rotated 90 degrees, there we go. That's what I meant. So if we were to have a shape or something like this, I would sometimes make cues out of additional topology diagonally, just to get the shape the UVs to work with us to basically let us break the flow and make it look like they're made out of separate pieces. That works quite nicely sometimes, especially for lower topology type of meshes. So that would be another way. The final way would be, well, this one also has a part on the edge. Let's go ahead and select it maybe to this amount. I'm going to unwrap it. I'm not even going to bother with the seams because once you have an island, honestly, it's so easy to do seams if you need another time. Long as you are not UBN wrapping. So if we want seams in the future, we can hold Alt, double tap edge, and then just do the seam over here. Right. This part over here, I'm just going to go ahead and just select it as a separate piece. Okay, let's not do it like that. I'll just go ahead and hold Control, select it like this, all the way around, and unwrap it, minimum stretch, like this. And finally, this part, u hold Alt, select middle. Control plus a couple of times. There we go. Except I forgot to do an edge loop, not an edge loop. A seam. So usually I would do it at the bottom, somewhere less visible, sometimes even in the middle over here, but I really prefer to avoid parts in the middle because it's harder to hide the seams. And even if it's been more visible spot, doing a thing in the corner just makes it a little bit more logical visually. So that's why I do it like this. Go to go ahead and select it. Actually, I can just click L using UVs. Don't need to use Control plus or anything like that. Go into the phase selection, unwrap and minimum stretch. There we go. All right, so all of these parts are done. The bottom pace, the bottom hinges, let's put it that way. We got something like this. So these phases are deleted from the bottom. A nice little optimization, like so. And honestly, basically, let's click L, select it using normal, and just unwrap it using minimum stretch would give you something like this. A little bit of warping, honestly, it doesn't matter because if we assign a metal, no one is going to absolutely see anything for the warping. So if it is a metal, it would be the best to do it like this. A more perhaps complex, not complex, a longer way would be to have selection like this. Maybe even going all the way like this, basically ensuring that we have more flatter faces. We can then unwrap this with minimum stretch to get something like this. For visualization, I'll go ahead and use a sign or a wood, and we got something like so. So now we have, I believe, two different TV spaces. So this one and this one, they're separated completely. We can go ahead and unwrap it with minimum stretch, and let's see if it gives us what we want. If were to assign this as a plank, it's not giving us we want. So this is this particular case is stretched. It's not good. It's really it's not good. Let's try using UV conformal. Let's see. There you go, much better. So in this particular case, we could, for example, do something similar to we had with would go in diagonally across. We could have this piece separate from horizontal piece. But in this particular case, you could imagine if we were to have wooden hinges, sapo hinge perhaps would be carved out with a knife or something. So it would be just one entire piece, and that would allow us to just make use out of this type of setup. But because it's metal, we can reuse the same type of method as we did previously. Eve of way is fine. Sometimes you got to think about whether or not it's worth it in UVs, whether or not the end result would be good for what we're trying to achieve. So just unwrapping it with this and just putting it as metal will solve all of your problems. So that's that. The thing here, though, is that we want this to be dark metal. So something for chains, I prefer to get lighter metal, something for, like, hinges, darker metal, just indicate that it's just different variation. So I'm going to go back to my edit, just select all of these hinges and choose what's it called black metal? Yep, black metal. Let's go ahead and just create a new material for black metal assignment. There we go. And we're going to get ourselves with a nice little setup that's slightly different to a chain. Something like these, honestly, for these little bolts, they just flattened out pad cakes. We can just flatten them out. So we're selecting them all, clicking on wrap minimum stretch, and assigning as a iron arc. So just to have more variation in metal, we're going to get this. So just flattens it out to give us these type of pieces. Like, so so we still have these parts over here left to do. And did I forget to I feel like I forgot to do this real quick, even though we set ourselves up with the seams. Let's go ahead and select this minimum stretch, and there we go. Nice and solid. You can see the wrap all is good, successful. So these are the only parts that are left. Okay, okay, okay. We have some volts in the back as well. Real quick. Let's select them. So that's why I prefer to have all the UVs in one space somewhere separate before unwrapping because we can just, you know, go into that section, just make selection, and kind of literally visualize from that perspective what's left. So these parts were floating. I noticed there's something in the back, and I was just able to make a quick unwrap for these parts as well. Also going to assign it as an iron dark. That's pretty much it. I'm not caring about the size or anything at the moment. Just worry about these little parts. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 30. Final UV Touches for Chipped & Warped Wood: Uh, Hello and welcome back everyone to UV mapping, boot camp, master and wrapping and texturing in blender. This is already taken long enough. I think we should just continue on with this and get to the wrapping point. Let's start by getting these planks in the middle. We're going to go ahead and select them like so and unwrap it. So the way I would do it, in this case, I would honestly just use automatic UV and wrap. I'm just going to use shift and H first, make sure that the bottom and the top doesn't have any additional pieces because honestly, that should be removed. It's a good practice to have so we could just simply, you know, use SmartTV Project, and that would give us most of our setup, except in this case, yes, the bevels. I completely forgot about that. It's gone out of my mind. So what should we do? Well, we could do it. One way we could do is we could have a seam, go in on each and every side like this and then it would give us that type of a doughnut unwrap. But honestly, it's okay to have multiple islands for this particular case because I would really want the sides to be a separate piece, even if it's curved like that, if it has that nice little bit of a curve with the bevel already set up, you could still think of the edge of the wood to maybe have a little bit of a different grain, and I think that would look just nicer visually. So just personal preference. So for that reason, I'm just going to make a selection of each individual phases like this for the front, control, for the front and the back, maybe make the selection a little bit smaller. We can make it super small. That way, we're only selecting these faces just like that, and the ones in the back as well. So, so like so. So what we're doing right now is we're just making sure that the front and the back selected just like that. And now we are good to go. So we could make seams using the edge mode and whatnot. But again, why waste time? We can just do it unwrapping like this. Minimum stretch might not be quite as nice, conformal, there we go. It's going to work quite nicely. And then I'm going to move these out of the way and select the leftovers, which are going to be the edges like this, again, wrap conformal, and there we go. That's pretty much it for the blanks. Let's click Alt and H and have them out of the way. Now they are overlapping over here. I don't really care about this at this point, so it doesn't really matter. But if we were to have an issue like that in the future, we could always just try to select some pieces or re select our items like this and then just move them to another place just to get them out of the way. Again, in this case, it doesn't really matter. Now, let's unwrap the sides and the bottom and these pieces over here. So these pieces are a little bit more interesting because if we were to have a look at them, I forgot one more piece, sp that because this little chunk at the bottom is actually two pieces because it wasn't needed to be so let's click Shift and H and see what we are working with. So top and bottom don't have the faces. They're not really needed. So they were deleted, which makes our lives a little easier. The reason why it's a little bit different is because they have those chipped parts over here. Right away, I'm just going to go ahead and assign it as a window wood like this, just to make sure we are seeing what we are working with. And let's work with this. All right. So what we can do firstly is we can unwrap the bottom ones because they're well, just solid timber. To make my life easier, I am going to go ahead and just select these edges over here. Making sure that it goes all the way across. So this part has a piece that needs to be taken through. So what I will do here instead is select one piece, hold control, select the last piece, and it should give us the shortest path. In this case, it's going to be quite right. We'll see why. I'll do here the same thing. So holding shift, I'll select the first piece, move to Oh, got mixed up, sorry. Move to the outer side, hold control this time, and select the up piece like this. Mark seem and there we go. Now we can go ahead and just select them all like this, hit wrap, minimum stretch, and we're going to get this. So what's wrong with this? Well, because we have those chipped off pieces, they're going to be trying to interpret that as part of the mesh, meaning that whenever it's trying to set this up, going to warp the direction of the wood into this particular part. So it's going to also expand when it's like stretching out when it relaxes the UVs. It's going to relax them outwards, and it's going to well, start moving that texture into the section over here, leaving a little bit less of resolution outside. So what I tend to do with those kind of setups is I tend to just dislocate the entire sections. So I'll just select this and these parts over here and holding Shift, I'm just going to select these little parts all over the section, just like that. This part over here is not necessary because it's just going to be part of this. It's too big to be a chipped off wood. So having it like so is okay. This, and this is actually one piece. So if we click U and wrap minimum stretch, it's going to turn into one. So from four pieces, it's going to turn into three. Hopefully, I'm just going to check real quick. It did not because they had a seam, and I do not like that. So what I will do here is I'll remove the seam. So holding control, remove clear seam. Now I'm going to go ahead and select this L, L, unwrap and stretch. There we go. All right. And now because I remove these chunks, we can now unwrap this entire thing again. This missing UV seams doesn't matter because it's going to be broken by the missing chunk itself. So once we click on wrapping, again, you'll notice that these parts are now much, much smaller, meaning that they're going to try to just purely focus on the keep in that direction of the wood flow. Leaving us a nicer type of a look. So that's how I usually work with this stuff. And yeah, that's it. I'm not really worried about the sizing because we can just average out the size later. And even the texture and whatnot, you know, making it smaller or larger, that comes later. Right now, we just focused on chunks. This part, this part over here, honestly, we can split it up into into into Yeah, in two. We can split it up in two. If I was just to select this, hit Alt and H and actually just select just these two Shift Click seven, Alz and now we can try and attempt to make a selection that will go all the way across. So hopefully, that would be quite right. Let's see if we can do that. Yeah, that almost works actually. Not quite not quite there, but it's a good starting point. So even if you make a selection like this, it's okay, better than nothing. We can click Olds to go out of the transparency mode, Xray mode. So we want to select our faces behind. Click C Middle Mouse button, Boom, boom, boom. And even here, I'm just going to do it like at this L so and in the back as well. Unfortunately, a little bit of tedious work, but it's quite right. Okay, now that we have it like this, let's go ahead and unwrap it. We're not going to bother with the seams this time because it is the way it goes for me. Unwrap conformal, just to make sure it flows better with this type of particular wood. In here, it doesn't matter with the chipping because it goes inwards. Or actually, it might matter. Yes, it does matter. Sorry. It does matter. Having a look at this, I notice because the wood is going inwards, it's not going to look quite right. Where there is a chip like this, it really is important to just, you know, select holding control, select this part, maybe, like this. No, no, no, no, no. These edges a little bit too much. So we're just going to deselect it. So once we have a selection like this, I'm going to unwrap it, conformal, and yeah, have it rotated. So now, when it goes inwards, it's going to change direction of the wood, making it that much more nicer. And I think that's honestly much better. If you're worried about these edges and whatnot in something like substance painter, you would do edge wares and that would hide um, this seems way better. Also, we can check it in our random mode because this does have, well, some generative shader setup, and it would give us quite a nice type of a look. Yeah. Good stuff. All right. Move on. Let's see. So this was entire setup over here. Seems good to me. We are still missing the V and the V, I believe. Let me just go ahead and unwrap it like this. Should we or should we not duplicate it to the other side? That is a good question. I notice that the chipping is a little bit different. So, unfortunately, because these chipping parts are different, duplicated to the out part would end up removing that detail. So let's go ahead and do it the good old fashioned way and just make selection. So the sim will just try doing it manually without using vertical selection. Like this. Looks good. Let's do it over here as well. B, bom bom. I'm not too worried about this chipping, or maybe I am, we shall see. But let's go ahead and make some nice little selection just like that. Unwrap conformal. All good. And now let's click on one of the pass selection UVs. All good, all good, the other side as well, and unwrap selection to conform. This is good. This is not perfectly straight. We can straighten this out in a little bit. All in all, it's all good. And yeah, I will change this up. So I will re select these parts like this, having those chippings be part of a different TV. The main reason for that is, well, I think it just looks nicer when it just looks like a different grain once it's chipped into and I'm checking if there's anything else I'm missing. So this part over here needs to be rotated as well, which we can do once we move this out of the way, essentially breaking up the setup. And I'll just quickly manually go ahead and hold Shift, select one, bom bom, bom, make quick selection. I don't want these bottom pieces. I don't think they'll look nice. Let's have a selection over here wrap minimum stretch, like so. A is good. Just in case I'm going to re unwrap it, mainly because now we're missing those chipped parts, which I'm also going to unwrap again, because, well, just making sure we have all the detail as much as we can. That's going to be it for this chipping. Hopefully. Well, let's see what is over here. Am I missing something? I am. This, this will be just a separate piece as well. Like so. And yeah, all in all is good. I just don't really I say it's good, but I found another piece over here because I've totally forgot to do the outside. So let me just go ahead and just break these parts off. Let me grab over here. These parts like so, sol like so. So this one is going to be actually, these are fine. The bottom pieces are fine. Totally fine because we already unwrap this. So it's only just this, and it's all good. So the only thing that we need to do is worry a little bit about the rotation. So right now, it didn't allow us to rotate them perfectly for the grain to flow. So what I'd like to do is just I'd like to rotate them manually because of this unique shape, it's not going to give us a perfect result, so we're just doing it manually, like so, and that's that. Just doing it manually is quite all right. It doesn't need to be perfect perfect. All is good. And same thing over here. Like so. Alright. So that's going to be it from me. We are almost done with this setup. Thanks so much for watching, and I will be seeing you in a bit. 31. Smart UVs & Materials for Chipped Wood Signs: Hello and welcome, everyone to UV Mapping boot camp Master and wrapping and texturing in blender. In the last lesson, we left ourselves off with a nicely chipped wood. We're now going to finalize some of the pieces, and I realized just now that these parts, if I wish to select them all, should be a plank wood. Like, so or actually, I'm sorry, we need to use Windows wood for this one. And for the other sides should be planks wood. There we go. There we go. That looks much better. So, in regards to some of the decoration over here that we see, these little lanterns, we can either find them as metallic or some pattern. If it was just a small tiny little piece, I would honestly just unwrap it with smart projection with a maximum angle limit and something like that, a little bit of a cheeky way of doing it. These type of pieces would be well, it would be a mess, honestly. Let's not do that. Let's quickly unwrap it in a little bit of a nicer way. So shifting age, let's see what we can do. I think I'll do it in a cheesy way, but less of a cheesy way than automatic VN wrap. So top down view, A Z, select one part like this, unwrap minimum stretch, and then we'll do Control I, unwrap minimum stretch, and we have two pieces, hopefully. What's happening over here? Oh, the bottom is a separate piece. Interesting. Yep, it seems to be the case. Should we fix it? We could fix it? Should we fix it, though? This particular part? Probably. Probably, yes. So yeah, let's do it because it's such small pieces, we don't really need to worry about, you know, upper and lower parts. Like we would sometimes, I'm just going to make my life a little bit easier, Mark Sm, select L, and that should select only one part. It's not selecting one part. O based on SMs. There we go. Yeah, it is selecting. Okay, we can unwrap that now both at the same time. Minimum stretch. There we go. Except what is happening over here. Oh, oh, right. Okay. Okay. So what I did here was by accident, I selected an entire edge loop. So this part is not needed, clear seam. Wow, good thing we checked. Let's go ahead and unwrap it. Make sure. Yeah, we need the bottom piece to be marked seam. Now we should be able to. I see that it's properly unwrapped, not properly unwrapped, properly marked for us to unwrap. Now two little pieces. There we go. That's going to be great for metal. Yeah. This is good. Very, very good. So this top piece also a separate piece, for such a small detail, but honestly, it's okay. It's okay. Let's go ahead and just duplicate it to the other side because I don't really want to do this twice, and it's identical. We are going to be fine. I still have this free decursor set up in the middle. Feel free to set yourself up with a new one if needed. It's shown in the previous lesson. Just going to check if I have this cursor, duplicating it. Shift D S minus one, sorry, no Y minus one, there we go, and shift N to take it out of the nastiness for flip normals. I'm going to select them both going to assign black metal. There we go. I think I think black metal is fitting. I think it's better than light metal in this particular case. So this part over here is also metal. So we can just click Shift in H. Let's see what we're working with. So for this part, I think I'll just get the front flat back flat and use that what's it called again, minimum stretch to relax the vertices, get a bit of texture density in here. And because it's small, not really deful, we don't really need to get additional too many islands out of this. So we're going to be fine by just simply doing the top view selection, like so. So Yep, that's a good selection. And I am going to just simply do minimum stretch. Let's see what's happening here. So is this part separate? It is Oh, this part is separate. Okay, okay. But honestly, it works out better for us because it gives us a nicer amount of detail. We can have a quick check, actually, if we assign it to a black metal. Yep, looking perfect. So I will go ahead and make a selection over here. Actually right in the middle. So no, right in the middle is going to give us this. Selecting one, holding control, selecting another, marking Seam. And the upper section, I will split it into its own flat surface. The reason being is because, well, it's more of a pyramid shape. And I'd like these parts over here to have enough space to kind of unravel themselves. Yeah. So marking some edge loops over here, and then selecting it, making sure I All right, because I don't have it anywhere else, it's fine. It is fine. Fine, fine, fine. I'm just going to go ahead and find it within the UV space, select it like so, and unwrap it. Hopefully, that's going to be assigned with black metal and it's going to look quite nice. It does look nice. These parts over here, not going to waste my time too much with them. Simple metal, simple unwrap. Not much detail anyways. All is good. Let's do unwrap minimum stretch, assigned black metal. All is good. Yes, perfect. So now, with these parts, I'd like to mention something real quick. If they are metal, we could just do simple assign and do minimum stretch, and that would give us those wreakishly wedly type of setups, which could be quite right. It could honestly be quite right for this type of setup. Uh, if it was metal, though, sorry, if it was wood and not metal, if it had a directional pattern, we would have to break it up, unfortunately. In this case, I think leaving it as metal or maybe iron metal is, yeah, it looks quite nice. But if you were to do wood, and I want to show you how to do it. I will just show it on one piece. We would simply just break it up into multiple pieces. So just like we did previously, I would select the front part, the end part, hold shift select this. This, Oh, my. This is not right. So if this is happening to you, select one piece, hold control, select it. Oh, doesn't want to go the shortest path. Let's select this part, hold Control. Wow. Okay. It really is struggling. So there we go. Let's just lead it out into this way. Shortest path, huh? Alright. There we go. Now it's following. So this would be reasonable type of selection. Although notice how there is some additional topology and whatnot, it's not the cleanest, perhaps, but we can click Control plus to increase it, click Control plus again, to increase it, and that might give us a bit better type of setup, which we can then get it cleaned up. The reason I'm doing this, by the way, is because we really want to make sure that when it flows to UV, you're getting more of a straight line. So over here, for example, it was going up and down. So these jagged lines would be really visible on texture. Whenever you're working with these kind of setups, just make sure you're getting a nicely straighter type of lines, like so. And just once you have it nicely straight up, you can unwrap it. So, yep. Perfect. Almost perfect. There we go. Now it's perfect. Then you can unwrap it using conformal, give you a nice straight up straight type of UVs, although the thickness now is varying. So if that happens, minimum stretch perhaps would work better. Yeah, it does work better. And these parts over here can be unwrapped separately, minimum stretch. No, minimum stretch is a little bit too too wonky. And this, if we were to assign wood would give us really, really nice type of flow for the wood. But since we don't need it, I can just assign it for a iron dark and just keep it as it is because that is quite right. Okay, so now we're left with the final thing, which would be to grab the entire setup, including all the decorative pieces that we did for the edge of the sign, all of the bolts and everything, and we can now yeah, we could just now unpack it. The way that I would do it personally is I would, well, average island scale if we want just constant neutral sizing like this. Then I would check the rotation. So, for example, this part over here, we might need to just rotate it just a little bit, and it's way bigger than this. I was scared for a second because I noticed that it was bigger, but it's no need to worry about. So this alien thing is okay for a metal. We don't need to worry because it's going to give us the right resolution and everything is nice. Um right. What I want to say is before unpacking, I just check the rotation, perhaps rotate some parts manually if needed. The reason I'm doing this is because when I am unpacking, so once I have properly sized scales, I unpack them, and then I turn off rotation. The reason I'm turning off the rotation is because I really want to make sure that the grain of the wood and whatnot is flowing in one direction. And whilst I was unwrapping, I just made sure that just has that nice flow everywhere. So even if we're doing texturing and substance being or whatnot, we can technically fix those kind of stuff. So it's not like super, super needed because it can be done within the texturing software itself. But then you would have to manually just do duplicates of material and masking and masking. It's just a little messy. So yeah, just having it like this. Packing it up. Everything is set up nicely. We can even check some of the, for example, scaling. Maybe the wood is a little bit too big or something. In which case, because this is a shader, I could always just go into this, find myself the right wood and change up the scale. For example, over here, something like that would be pretty good, not needed, but if you want to change up the grain of the wood, make it. This is too much. We don't need it, but we can do it. So, yeah, that's pretty much it for the sign. Congratulations. We made ourselves the first prop. We could even take this now to substance banner and have it textured with this type of UV. And it would give you some great results. As a quick review of the packer, you'll notice that, well, we had a lot of square type of tiling and whatnot, which is great for, well, everything. This part over here, because we left it off as more organic, ended up causing us a lot of loss for, well, texture. We could definitely fix that up potentially. But even when fixed, you can see, like, for example, the side of this because it's such an intricate shape, ends up leaving a lot of space over here. The more islands we have sometimes, the better it fills that space in, but it's not always good. This part over here being slightly rotated is acceptable because it's metal. So I would say this is a reasonable good UV map if you're trying to fit in a good workflow. Getting it through the pipeline, through, you know, the prop texturing pipeline, you will need to do something reasonably fast for pieces that would give you good outcome. And this honestly is a pretty good outcome. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 32. UV Pitfalls with Bevel Modifiers: Hello and welcome back everyone to UE Mapping boot camp, Master and wrapping and tecturing in Blender. In the last lesson we left ourselves off with the previous Chapter eight. Now we're going to move on to Chapter nine, beveling Barrels. And this one is a little bit more of an interesting one because we're going to talk a little bit more about the mesh, the topology itself, and what can we expect out of beveling. Saurus bevels add additional geometry. If we look at the edges of this mesh, we're going to start seeing them being beveled off, essentially being smoothed off. So instead of having those chunky 90 degrees type of corners with bevels, we're going to see them being smoothed out. Now, there are multiple ways to add bevels, which includes using modifiers for starters. So modifies will allow you to do it in a non destructive way, although we are adding topology when we are exporting this mesh beforehand, it's just going to have this type of topology, so it's not going to have anything on top of it. Only purely visual type of setup. Let's look about how the bevels distort the UVs. And if I was just to duplicate this type of piece of mesh, notice how these pieces are separated into multiple parts. So we have lt rings and the links themselves. We're going to talk about why that is the case. Now though, let's go ahead and make a duplicate out of this. So the top section only, we don't need to worry about anything else at the moment, because we're just going to go ahead and select it all UV and wrap with SmartTV Project because thenia degrees is going to give us all of this nice type of topology. But when you are exporting it, you're not going to see this UV because the added extra topology is going to go somewhere. So what happens is, when you are exporting and you have the apply modifiers setup, you are going to see we can actually apply bevel right away. You are going to see something like this. So actually, in all the blended versions, it was way different, but now you're actually able to have the beveled edges to be incorporated into your UVs. And that's all great and nice. But let's go ahead and have a look at the differences between them. So I'm going to compare these two. Let me just go ahead and grab this, click GY one, just to move it upwards and select both of them. So so let's compare this plank and this plank over here. For Saras, although this setup is not using any padding, so there is no, extra space in between the UVs. Not really good practice, but for automatic UVs, you know, that's what it gives. See that even though they were close by before, the UVs themselves go inwards into the shell of the UVs base, meaning that there is no need for extra shell padding. The other thing I'd like to mention is that because it goes inwards, we're going to get a slight bit of distortion towards the corners of the mesh when we're using the modifier bevel. So if I was just to have a look at this little piece over here, actually, let's go ahead and add little wood just to kind of visualize, correct woodlk. So just to visualize what it looks and we Oh, that was a different one, actually. Oh, crack wood. There we go. So onto the bubble edges, we can see that. We're not able to see much because we need to upscale it quite a bit and just see how it looks like. So these edges over here, we're not always able to control them, you know, over here, because this is part of the same UV islands going to just insert that UV information from this specific plank, but not from this one. This one is going to have its own UV setup, and we are now able to determine where those bevels which UV shell it would use. So right now, this island is also supporting these UV spaces for the bevels, but not this one. And if we want to have, for example, this part to be rotated differently, we wouldn't have that much of a control with this particular setup. The corners over here on the side, also, well, we don't have much control, so they're going like, just downwards straightaway, and that might be an issue. Depending on the perspective, in this case, though, it kind of works. The other thing is that if we were to have more of a curved surface, so you can imagine this plank, for example, being a little bit more well bent or something like this. The bevels over here on the side would struggle a little more with the distortion, how it looks, and I can actually show that to you. So right now I distorted this plank over here, and because this had already topology, this is how it looks like with the UVs. If I was just to try doing that same thing over here, which only has the modifier, as is without a topology. So I'm going to go ahead and do that, like so and then use bevel, like so. We can see the difference. I'm actually going to make this UV islands quite a bit larger. Like, so so you can see the difference that the maybe even larger sort would be easier to see that it is not it's slightly distorted. Maybe it's better to see it with the piece like this instead. If I was to make it a little bit larger for you guys, there we go. So you can see it has a slight bit of distortion when it works with more of a bend wood. And here, for example, the flow of the wood wouldn't be ideal either. So something like that, you definitely need to put into consideration when working with textures, especially when working with directional type of wood because it will have a little bit of an effect. And this only applies, though, I will say to parts where you need more of bevel. If you're using just a small value of bevel, it's not going to be visible. You don't need to worry about it. It doesn't need to be perfect. Because this chunky type of wood is a little bit softer, you can see that, for example, over here, the wood tries to flow over here on the corner, where for this one, it flows like this. So yeah, that's the type of lack of control that we're talking about here. And for that reason, honestly, when using the UVs, I really, really, personally prefer to just apply the bevels that modifier setup onto the mesh itself. Before doing anything in terms of UV unwrapping. And that puts some complication towards how we unwrap certain parts because there would be a lot more mesh detail, a lot of mesh complications instead of just using those 90 degrees. So it would be, it would be just simply more complex to unwrap this type of mesh. The other thing that I'd like to mention about the UVs, and this is the reason why I have the separated is because if I was to make a duplicate out of this like so if we were to try to join them all up together, we'll notice that, hey, we're losing these bevels. What is happening? Well, the thing is I made actually a mistake. Let me just go ahead and make a duplicate out of this again. So what is happening? Well, let's go ahead and join this up and see what's going on. Right now, we have this type of bevels. Everywhere is the same type of bevel. So in this situation, we had different bevels. Over here, for example, over here was a different bevel. This had a different bevel value. I believe this didn't even have a bevel. So all of that plays together. To create specific parameters because we need it. Over here, though, if we join this entire object and just use the bevel as is, we're only going to have one certain control over the bevel detail, like so. Now, when it comes to beveling, there's also something you might have noticed is that it doesn't go past a specific point. So if we try to bevel it off like this, it just stops. What is happening? Well, the thing is this beb right now by default settings, it only allows us to bevel off edges as much as we have the topology, the smallest topology that allows us to do. So over here, I believe because of these bolts, let me have a look. Yeah, because of the SR topology, it will only allow us to bevel off just to the maximum amount of what it includes. If I was to add an edge loop, let's say, over here, to this point, for whatever reason, you know, maybe we wanted to have this stripe a little bit thinner or something of that sort, and you'd have topology that's closer. Once you do that, you'll notice that, hey, now everywhere else is as thin as that last piece, and we can't exactly go any further in comparison. So that's the downside of using just a bubble as is on just one mesh is because there's only one maximum value, and every other geometry piece would have to use that. There is a way to go around that, and that would be to use or unused clamp overlap. Now, this option is an interesting one. You'd think that clamp overlap by just simply clicking it off allows you to have a bunch of different control. And even if I have topology, so it would be totally okay to just, you know, increase it over. And right away, you'll notice what the issue is because I had the face orientation turned on, so it's going to spoil us a little bit of that. So face orientation will show you that clamp overlap will basically allow you to extend the bebls to anything past maximum, honestly. So right away, it'll start ruining the bolts and stuff, the hedges and all of that. Of course, you might think that, like, Hey, maybe we're not going to use it to an extreme value. We just want to soften this part up now it works. But you'll notice that these parts are still red. So even without the face orientation, you might notice it a little bit, or you might not because when you are applying a texture, let's put for the sake of the argument this iron piece. Like, so you might notice that, Hey, it's alright. It doesn't look that bad, right? Everything is fine. What's the concern? A bit of an overlap, nothing wrong with that? Well, the biggest problem comes when we are putting this into texturing software. Even here, you can see a little bit of issue right off the bat, slightly overlapping, but you might think, like, Hey, that's okay. It's not going to be Zoomed in disclosed. No one is going to see that or something like that. Well, here's the thing, though, if we go to texture set settings, start baking the ember clusion. This is the main problem causer for us, most of the time because ambiclusion gives us a nice little bit of depth, which is really dependent on the geometry that we have. And right away, we'll see that, Hey, what is happening over here? We're getting some black faces on here. Here is well, it's fine, but on bolts, though, we're getting a lot of messy stuff. So it enhances all of that artifacts, all of that data, and it's really important to not only work with, well, good UVs. It's also important to make sure that the UVs beforehand are not overlapping to get good data out of those UVs when textured stuff gets put in place. That's the gist of it. We're now going to move on to figuring out what to do with this troublesome barrel of ours in the next lesson, though. Thank you so much for watching and I will be seeing you in a bit. 33. UV Flow on Beveled Barrels & Bolts: Hello, and welcome back over on to UV mapping boot camp, Master and wrapping and texturing and blender. In this case, we're going to master this bevel modifier, so we're going to make use out of it professionally in our fields. Let's go ahead and get back to our default barrel. Alright, so let's start off with one way of sorting out the bevel UV beforehand, and then another one another way afterwards. I'm going to go ahead and just quickly select this entire barrel, make a duplicate out of it. Because usually when I'm doing modeling or whatnot, if I'm applying modifiers and whatnot, I prefer to keep a copy previously just in case. So let's say you have applied multiple bevels on the object and you have set up different setups because why not? That's totally viable. Then let's move on to UVs. And I will start off by just grabbing the little checkerboard that we had previously, going to apply it everywhere just because it looks nice and easy to visualize, just like that. Alright, so first things first, these bolts, they don't have any modifiers for the beveling. This smooth shader tool just allows it to be smoothed off based on an angle. So that's right. Let's go ahead and select it all and just unwrap move minimum stretch. Doesn't need anything else. It's just going to be squished into these plain pancakes, which is what we want. So next up is going to be these parts over here. So one way of doing it would be to, well, create seams beforehand. And I'm going to go ahead and select it, isolate the view because it's a separate object. We can just click or dash a sideway next to your shift and move on to adding seams. So because it's such a sharp curves and whatnot, we're going to get this type of setup. Like so, you might be wondering why we have some on the inside as well. Well, if the planks have, you know, gaps and whatnot, they're going to be quite visible. So if we zoom in over here, these gaps in between the planks and whatnot, you could potentially see what's on the inside of the ring, and that's why sometimes it's okay to leave that in. Go back to isolation mode with this selection type for edge loops, we can now go ahead and mark seams. And to straighten it out, I'm going to mark Sam right in the middle as well, like this. And that way, we're going to get ourselves, well, four pieces that will be nicely unwrapped, except it's not nicely unwrapping. So what's happening over here? Ah. Okay. Okay. I see. Marked sharp, not seem bad. There we go. Let's go ahead and unwrap it now. There we go. That's what we're getting. And it's a little bit wonky, a little bit wobbly. That's right, because we can use lt and E with this disabled. There we go, nice and straight. So it's going to be quite a bit more compact. That's a nice way to unwrap the rings. So we have these setups. And now, if we were to, well, apply a bevel afterwards, out in the object mode, we are going to get this, which is quite right. For something like metal, it's great. It doesn't have any of those weird triangles or edges because, well, we didn't have them. Like these triangles over here, we didn't have it as previously mentioned. So here, it's going to be great. We got ourselves a nice little setup already with multiple bevels. Now you might notice that the seams end up being split into two parts. Over here. So that's quite important to know, because basically, if you are going to be wanting to unwrap this part again, it's going to split into multiple pieces, more than four sides that we had previously. So that's going to be quite a bit of a nuisance. Just make sure you are aware of that. We can just leave this bevel off as is. Honestly, at this point, it doesn't really matter. But these edges over here, because they are seams, they're going to be split into two teams. They're going to multiply. So be wary of that is all I'm going to say. Ways, whether or not we apply the modifier does not matter in this particular case because we're going to just convert this all to a mesh and just apply everything at once down the line. So next up, we have, well, planks. What do we do about them? Well, for SaaS, we have upper and lower lengths over here because this is basically the same mesh, we can go ahead and just delete one, and that makes our lives way easier. Next up, we can apply the modifier, and I will show you an alternative way for sorting out and dealing with these pesky beveled off well meshes. Because we already did the sign beforehand, this is going to be rab or simple in comparison. All I'm going to do for Saus is turn on this UV sink because I really like that, and I'm going to just turn this sideways and get myself the projection from view because I like the start like this. It just makes puts my mind at ease when I have it like so. So I know what's missing and what's not. Alright, so next up, we have, well, these planks over here. What we can do is we can use Old Z because we are from top down view and just using transparency, we can select it like so, using shift just the main parts. The bottom pieces are also going to be selected just like that, and we can click Control plus, and it's going to select those bevels. And that way, we can unwrap with minimum stretch. To give us these lovely placed planks. And over here, they're going to be fine being like this, actually. So yeah, that's fine for us. Let's see what we're left. We're left with all of these edges. So what do we do about these edges? Well, for Sas, we can just go ahead and just select all of these pieces that we had previously. Click H to hide it, and we have this, these lines over here. What do we do about them? Well, we can just go ahead and just drag it across like so holding Shift, select them all like this. Click on Wrap minimum stretch going to give us nice little planks. And all that's left is just front and back like this. Click minimum stretch, and that's pretty much it. We can now go ahead and click Alt and H to unhide it, select this piece, and I'm not going to unpack it. Honestly, I leave that for the very end. I just know that all of these are nicely facing upwards, like so, and that's pretty much it. That's exactly how we want it. We got ourselves these planks vertically going in one direction on the side. Over here, this is going to be going in this direction as well. These on the side are going to be go in just in this one direction over here. And that's it. That's pretty much it. We don't need to over explain ourselves, right? So let's move on to the next part, which is going to be very similar to the upper piece, except we also need to duplicate this to the bottom part. Let's not forget the bottom of the barrel. So let's click shipped in D G s, move it downwards, and I'm going to just flip it around and does it matter if I flip it around? It does not. I'm planning to have this as a separate UV chunk. If I was to have this to be duplicate of the upper section over here, I would unpack this entire part first. So, you know, average islands, pack islands, making sure it's properly set up. Then I would duplicate this and use S z minus one to kind of invert it. And that way, we can just reuse the same UV and save up the space. In this particular case, it doesn't matter because we can just place it and keep this as a unique object. And once we're packing this, we're going to have those packed up as a separate chunk. So we are left with this plank over here, these entire chunky planks that we have, so maybe a little bit too chunky. I'm going to hold shift and just love this down there. We go nicely placed up. What can we do about them? Well, we're going to use yet another way of sorting this. Um, let's see. We could do it, like we did previously with the rings, where we have the upper selections, and then afterwards, sorting it out. But I'll show you a more fun way. I think that'll be better. Yeah. So let's go ahead and apply the pebble. Let's not be afraid of these extra topologies that we're getting out of it. I'm going to go into Viewport Shading just so I wouldn't have to see the checkerboard. We don't need a checkerboard over here. So what I'm going to do right now is I'm going to select these chunks like this. And what we can do is we can go on to select, select all but trade and Sorry, select similar, I believe, area, and there we go. Selecting similar area will allow you to get, well, similar area, which is like this chunky planks of wood. If you want to lower this, you can by using the threshold that appears at the bottom. But now we got the fronts and the backs selected, all lovely. And we're going to essentially do the same thing, which is Control plus to add it in, to get that extra bebl. We might need to do it at another time. And I'm wondering if we should because here we have additional segment added to the part. So I will leave it for another chunk of island. The reason being is that you can imagine over here, for example, the flow of the wood going in this direction. And if it was just this small type of face over here, it would be a little bit too much. I think having this entire chunk would be having a much nicer flow for the entire area of the wood. So whilst unwrapping, we need to think about those kind of stuff. So yeah, that's why we're only clicking Control plus only once just to get the first level of bevel, and we can now do unwrap minimum stretch. Let's see how it turned out. It turned out right. In this case, this part over here, I was considering about, well, turning these to UV squares. But because it has that bit of a wobbliness in the wood, I don't think it's needed too much. We can test it with actual wood. I will go ahead and do that, actually. So I will change this real quick to wood just to see how it looks, correct wood. And let's see. Give it a quick test. Yeah, the wood itself, the grain is looking quite alright. Let's not worry about turning them to UV squares to make it more compact, because if we do, because of this type of topology, for example, this goes straight up, and then this face over here ends up going a little bit going sideways. So it would look like the grain is going up and then, you know, a little bit sideways or something, and here, overall, the grain is just going in the right direction. We don't need to fix it. We don't need to worry about that. And I think it's worth the expense of just, you know, having those small spaces over here. It's not going to matter much. All is good. So moving on, we have these parts over here. We're going to just make a selection like this. Select the entire part, unwrap, minimum stretch. Heh. We got ourselves nice set up. Do the same over here. Minimum stretch. There we go. Nice and easy, super simple, super nice. And now we're going to well, you can change it back to the checkerboard that we had previously. And we have ourselves unwrapped barrel. Of course, if we want to take it to a texturing program to do some extra textures, we can do that. The way we would do it is right now some of them would have bevels. Right now, some of them would be, you know, already unwrapped and whatnot with the bevels applied. We can just select this entire mesh like this, go on to object, convert, mesh, and just like that, we're going to get ourselves everything already applied for modifiers. So that's something that's cool to do because if we were to join everything all at once beforehand, it would take off some of those mesh add ons, mesh softeners from modifiers, or it would apply additional modifier on top of it. Either way, it doesn't work quite as well, so just make sure you convert it to a mesh, and now we can just select it all, click Control J, and we've got an entire barrel that we could texture within or work. Of course, we would need to select it all, use average island scale to make sure it averages everything out. Then pack it nicely into the setup. I'm just going to double check real quick. Yeah, everything is in the proper direction, I believe. So we can just pack islands with the rotation turned off. Margin, 0.03 is right. Let's pack this up, and that is what we're getting. So there we go. Nice, little setup. One thing that could potentially work against our favor is the length of this chunkiness. So if I was just to select it using normal, to get all of these parts. So these ones, sometimes with meshes, something like sort, for example, would have extremely long UVs. And because of that, you would, for example, try to keep the density the same as everywhere else, not making it smaller. So when you're packing an object, I could actually show it to you right now if I make this a little bit larger beforehand. If I was to try to pack this now all like this, you'll notice a little bit of an issue. Even real quick, let me just change the margin because consistency. So even with margin without margin doesn't matter. You'll notice that what's happening? It's not using all of the UV space. Well, the reason it's not using all of these UV space is because of these extremely long UV chunks, they are not helping us out with sorting out the UVs. If that does ever happen to you, only viable thing to do is just simply grab the chunks in half and just split them off. And although there would be an extra well, UV seem somewhere over here, you know, there would be an extra UV Sam, even though we haven't created it. That's the most viable option because now when we do this, ignoring this chunk over here because let's not ignore it. This was part of the bubble. So once we split up, those along pieces, we can repack it, and then we're going to start making use out of the entire UV space. So that's something worth knowing. Of course, in this particular case, I did not want this to be the case. Average island, pack island, and it look quite nice because it's just the right type of size, the right type of well, you know, length. So yeah, perfect setup. Good job for finishing this up. And now it is time to move on to yet another section. Thank you so much for watching, and I will be seeing you in a bit. 34. Curved UVs & Atlas Prep on Bookshelf: Hello and welcome back everyone to UV Mapping boot camp, master and wrapping, and texturing in Blender. And last lesson we finished off ourselves with the bevel barrels. Now we're going to go on to the zero to one UV space or Atlas setups. And in certain cases, we would want to optimize our textures. Instead of using multiple materials with seamless textures, we would use one material with multiple textures inside of it, meaning that this entire setup is just one UV space and it has, well, multiple textures. On the top left hand side, we have some book covers. We have a book side over here for texture. It's a little bit larger than a book cover because we want to have more detail within the size of those pages, perhaps. It really is dependent on the setup that you'd like to do. So for example, the books are going to be relatively small. We can have them smaller in comparison, whereas, for example, this piece over here, if we want a marble tabletop or something of that sort, we could have more texture. Something like, you know, dirt over here would be smaller if it's within just a small plant pot, like we have the plant pot over here. All of that sizing and setup really depends on planning of the type of messes and morals you would have and determining whether or not you want larger or smaller materials. So with that said, let's get right into it. For Saudis, we're going to start off with this book shelf itself. That's a rather interesting one because it's going to be a wooden type, we can either go for a non painted type of a brown look or a painted type. This really depends up to you. We don't even need to consider that at the moment because they are the same size. So at this point, we can just focus on wrapping and setting ourselves up with that. If you're wondering how I set up this atlas for PBR materials, all I did was in substance paper, just open a sample, get myself just a simple square, and then afterwards, just delete whatever is not needed to get just a simple plane. After which I'd have folders based on each separate materials and would use masking to well create out these blocks over here, which would allow me to have different materials for them. But anyways, that is a topic all on its own. I'm not going to go too much creation on the setups for atlases. Let's get back into the course. So have this bookshelf over here. We're sting off strong because this is, well, curved. How do we sort this out? Let's go ahead and go into it. I already sort it out for you guys. So when we are checking, all of this is just projection view. So we don't need to redo that over and over again. We can just move all of those pieces off to the side just like that and start thinking about how the setup would be. If it was normal noise, we could just do automatic UBN wrapping or something of that sort, then that would be okay. But because we want this to be more wood, these entire curves need to follow the direction of well the setup. So first things first, let's check real quick if this is part of the same mesh, which it is. All of it is connected, which is okay. But let's say we want this. Well, except for this piece. This piece is a separate piece, and that's also okay. Let's determine how we can split this up. And the easiest way for us to do that would probably be if I was to just, well, let's go ahead and isolate this entire piece shelf over here just to make our lives a little bit easier. Now, let's click Old set to go into transparent mode. Let's position our camera like this to grab selections. And most of the cases, it will be just, you know, how can we make our lives easier? So now we can just split this part off. And because this is one mesh, we're just grabbing these chunks into separate pieces, just like that. Like so, and I'm grabbing this and this and this as well. And that's going to be quite right. I think, this part also needs to be the same. Like so. We can just move it out of the way. Let's see what we can do with this. This would also need to be separate. So I'm just going to move it off to the side. The reason I'm doing this is basically I'm separating straight from the curved versions because we will do slight different processes in them. And I'm just checking at this part. No. Okay, that's fine. And this selection over here doesn't matter too much. At this point, to be honest, what's split, what's not because once we have something like this, we can just make a selection across like so just like that, having this entire selection. We can do automatic UV on wrap. Working smart, not hard is always the way to go. And most of it will be done exapse little things, what is happening over here. Well, they are front and the back, so we need to slightly fix them up. What we can do here is just a quick selection like this, like so, like so, like so. And by having this simple type of selection, we can now move them out, and that's going to be it, I believe. No, over here as well, going to select this part like so. Yep, that looks right. Okay, once we have a selection like this, we can do automatic UV and wrap again, and that's going to repack our items to make it straight. And these will be separate UV chunks now. We can click LL, automatic UN rap, Smart Project, there we go straight. We're just straight and everything out. Nice and simple. And now the curves. Whoa, boy. Okay, the curves, let's go ahead and click L UVs. Let's see what they look like and lovely. They're looking lovely is what they look like. What is going on with this one? Let's have a look at up a curve based on the projection from view. Um, right. So let's go ahead and do this. To make sure that we're not selecting some random parts, for example, if holding Alt, selects an entire circle, including this part that's already been unwrapped. Want this to happen. So what we're going to do is we're going to make a selection that we unwrapped already, and we're going to hide it out of the way, making sure that we're only having the curves. Now, next step is going to be let's see, let's see. Let's see. We have some holes over here and stuff, which was the reason because it was hidden and stuff. That's all good. Let's see. So the best way because it's straight is if we click seven Olds, we can just select using face selection. One side, holding Shift, another side. Both sides selected just like that. Es Bs. We can now click U and minimum stretch, and it should be reasonably straight. Yet, it's not so straight in some areas, what is happening over here? I'm just double checking. So for example, this part over here going to focus and see, it is not perfectly straightened up, which makes us wonder if we should straighten this out or not. Mm hmm. Mm hmm. So instead of using Alt and E with these, what? Actually, I will do AlternE first. So what I'm thinking right now, what's happening right now is basically I'm deciding whether or not to use UV squares, my usual add on that just straightens stuff out. But here's the problem. Now, we have some of the topology that is not perfectly straight. So if we straighten this out, you know, if we straighten this type of a curve, this curve itself would be D D do, if I was to show you would be make it larger, would be stretch out. We don't want this to happen. These stretches is not correct. So what can we do? What can we do? Well, we can do the pinning method. I think that would be the best choice. But we can combine the pinning with our lovely and beautiful setup or UV squares. So yeah, I think I'll just do that. Let's go ahead and select these parts over, like, so turn off the UV sink selection Altny and there we go nice and straight. Now what I'm going to do is I'm going to select only one side. Yeah. Yep, yep. So what I will do is, I'll just do selection like this. And one side, I can just select this upper part over here. So basically, out of UV shells, I'm only selecting one side, like, so it doesn't matter which side, because the thing I'm looking for is when we are having some vertices of one side pinned out, the upside is free to be a little bit loose. So we can simply allow it to move freely. So I'm going to just click P to well, use the pinning, same as just pin. And then let's go ahead and just unwrap it again. Using minimum stretch with iterations, and that should give us something, although this is quite messy. So what is happening over here? Well, let's try angle based, but it's not working in the right way that I want to. It's freaking out for some reason. Why is that no flip? There we go. So still giving us the wrong options, let's use conformal, and that would allow us to well, move some of those vertices. And now, if we check the UVs, if it is a little bit of a warping, it might be still okay. So this part over here. Is going to be this part, just like that because these parts were well pinned. It's going to keep that straightness, but other side will, you know, go back and forth, depending on the need for resolution, and honestly, that's going to be okay. It's going to give us that conformity of nice straightened up UVs whilst not messing up the density too much, not doing too much warping, something in the middle of both worlds. So that's going to be quite right. And now for these parts of a year, so I'm checking some parts look a little bit interesting. So I'm just curious about this part in particular, actually. Let me try finding this part. You can also just click on it, and this is what it looks like. That's okay. That's okay. I guess it's just based on the perspective. We can go ahead and select it all, click on Wrap minimum stretch. Let's see if it gives us the right setup, and honestly, it does. It does look like it is. And in this case, let's see the parts. Is there any distortion or if you sort. For these parts, it's going to be perfectly squared. It's going to be quite alright. There's no curves, no nothing like that. So we can select it all. We can go out of the UV sink, select it again, old E, and it's going to be straightened up nicely for us. Now, let's put this all onto our atlas. So if we were to pack this up, we can do so. Actually, we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 35. Atlas Mapping for Bookshelf & Sculptures: Hello. Welcome back, everyone to UV mapping, boot camp, master and wrapping, and texturing blender. In the last lesson, we left ourselves off with sorting out some of the curves, getting that nice little shape out of the setup. We're now going to move on to well, pssing it into our atlas. Let's go ahead and simply unpin all of these little parts, like, so just in case, because I don't like just red spots on it. And if we do forget Wilson wrapping or something, it just tends to make a little bit of a nuisance out of the setup. Let's simply check what we're going to do now. I'm going to go out of isolation mode. Let's see. So here we have the setup. We can pick whichever way we want to go. We have a nice little marble over here, some parts of the wood. And in this particular case, I think we're just going to stick with this type of wood over here, so that the flow that we set up for the curves would allow us to, well, got a nice wood. Let's go ahead and do that. I'm going to click Alt and H with an Edit mode, and we are going to change our material to be atlas. So there we go. And how it's going to be a little bit looking freaky because it's well, just all over the place. We don't want this to happen. So we're going to start placing everything in one spot. Started off, we're going to average out island scale, like so to make sure that the sizing is properly set up. And the next step is going to be stacking everything in one spot. Unfortunately, by default, it doesn't allow us to do it, even if we set individual origins to well, pivot to individual origins. It's still not going to allow us to just use shifting S and, you know, selected cursor or something of that sort or even selection to cursor. It's not going to allow us to do that. To make sure that islands are sacked on one another. And this is needed for making sure that we're just making use out of the same space. Luckily, for us, we have magic UVs. The magic UVs will allow us to do that. We can go ahead and make sure we are within UV manipulation, Align UVs, and there is snapping option. Make sure that the group is set to UV island, and then we can just snap it, and it doesn't matter where to snap it onto because we are just looking to overlap everything to one spot. And just like that, we're going to get ourselves a nice little setup. Now the thing is, though, if we have a look at it, the sizing and scaling and everything is little bit too much, little bit too long. So some of the pieces end up being a little bit too lengthy. I recommend you just to grab all of it in one spot, all the lengthier ones that is. Maybe this one as well. And is this okay? I think this might be just just o, I'm going to check. I'm going to grab it as well. Might as well. There we go. So Oh, Nava one. We're grabbing all of them. So we're making sure that the short ones are left behind, and the lengthy ones are moved to the side. And now we can just grab it and cut it in half. I am going to go ahead and just have a quick check on the selection just to manually check how it looks. So, for example, this one would end up being cut in here, which I'm okay. This one would end up being cut in here, but the upper section needs to maybe be in the same selection. Like this part over here also would be nice to have it cut in the same selection. The bottom, do we care about the bottom? Not really. I'm fine with this. It's okay. And rest is fine. All right. So now I'm going to click G, again, with our wonderful UV sing selection just to offset it and cut it up like so. And we're going to probably do the same thing again, actually. We're going to click N, Magic Vs Snap point. Now that's going to be nicely placed in our section. Let's move it up to the wood section. Go to the materials, and let's click S to just scale it down until we get to this kind of part like so to get the wood going all the way around for us. So that's quite nice. And I'm seeing an issue here. I just realize if we click AltnHe we left behind a lot of parts. Let's make sure we grab all of them and do the same thing up points, and we're going to just scale it down a little bit, move to the side and should be right in most of the cases, except it's not what is happening right now. So for Sarus, the texture quality is quite a bit lower, which is fair enough because I realized that we have not set ourselves up with average islands, average island scale. Now we can just redo this step real quick, like so, and let's see how it works for us. So we're going to scale this upwards like this. Already looking much better, except for this little guy over here going all the way across. We don't really need that. Let's go ahead and just break it in half, like so, and I'm moving these parts a bit more randomly to scatter them up, just like this. We can just place it like so and get a nice result. This one part needs to be rotated just to make sure it flows nicely with the wood. And the rest of the parts can be also slightly offset. So this part would be here. This part over here can be moved a little bit to over aside, so forth, and so forth, like this, like this. So just quick bit of motion. Doesn't need to be perfect. Just like that. And I think that's quite right. There we go. We got ourselves a nice bookshelf. All right. Let's move on to this little art masterpiece. Whatever it is, it's looking pretty good, but it would look better with some additional textures. And right away, we can just probably put on atlas on the setup and grab it. See what kind of textures maybe it would work with. So bronze with marble for the base would look quite nicely. So let's go ahead and use that. And let's just go and start the ecturing process. We're going to select this object. We're going to start unwrapping it. So what would be the best way of doing it? In this case, we don't need to unwrap the circle of parts to be going straight. It's not wood. We don't care for the grain. And because it's an atlas, we don't really care about the texture density doesn't need to be going next to each other, so we can just overlap it. So that being, you know, nicely set up by separate pieces would be okay. I think the way the best way to do it here would be just to start with automatic V projection. Let's see what it gives us. There we go. This is what it gives us. Very nice. Putting it off to the side, just in case. And let's see. We got this little ring over here, moving in multiple directions. Fair enough. Can we make it better? We probably can. The backside is a little bit of an issue. What's happening over here? Is there a little bit of a mistake? That's fair enough. Let's just maybe I moved it by accident. Let me just go ahead and I'm just going to go back to the individual the individual median points and move this back a little bit. Like so. I don't know what's going on over here. A little bit of a mistake. It's not going to be visible behind the back. Even so, it still looked a little bit odd. As a piece. So I just had to fix this. Like so. A real quick fix. Okay, so what do we have? What are we working with? We have this ring over here, set up into multiple parts. I'm actually going to re unwrap the star ring, like so and use SmartTV projection. Can we get away with this? We probably can, except maybe there's a lot of little chunks over here. What's happening with these little chunks. And it's on the inside. I don't really care about the inside. Do we care about the outside? Probably. Let's go ahead and just simply unwrap it. Like this, Mark Seam. So now I can just select this entire part, like sew all the way around it, just like that. And then hopefully, if I were to use where would it be uniform confrontal's going to give us a nice little piece over here. That's fair enough. Let's put it to the bronze, just like that. And the rest of the pieces would also go to the bronze. Like so so whilst I'm working with this, I can just right away, start moving all the pieces, checking how they look visually. And because we are working with Atlas, we can easily, you know, change between metal if we want to, for example, we can just move this over here and see how it looks like with a different type of a tone, which is, you know, fair enough. So just like that. But this part over here, we are going to do packing, pack islands, like so, and a quick set up over here like this I think is going to be quite right. Maybe even metal, maybe even so. Again, in this particular case, we're only caring about when unwrapping. We only need to wonder how big the UV chunk is. So, for example, this one is a bit smaller in comparison to this, and we can get, for example, more detail out of it. In context of entire scene, you might start wondering whether or not it's going to be okay because the wood would be less resolution in comparison to the marble. In certain cases, it's okay. It's acceptable. In other case, it's not. So, for example, marble over here would be a smoother setup and whatnot. It would have that sharper texture, and it would look more fitting overall. But yeah, you do need to be wary sometimes when it comes to texture resolution, if I was to have this over here, for example, the same type of wood, but, you know, smaller pattern in comparison to the shelf over here, then it would start looking problematic. Then it would be, you know, from a distance even, you start wondering, like, it's the same material, but it's smaller. Your eye would start picking that up naturally. So that's something to be wary about. But because this is marble, completely different material, totally okay. And yeah, whilst I'm wrapping, you would think of the size of the material type that is and the sizing because of that. And you would think about directional noise versus normal noise because this is a normal noise, the marble I would consider to be a normalise noise. We could put it either over here, if here, it wouldn't matter what kind of a setup I have for the UVs. That's a little bit me rambling, though. Let's go ahead and just fix this up, finish these up, and just grab all of these little tiny pieces just like that. And what are those, though? Are we missing something? Let's have a where would this be? I just want to check real quick. What am I selecting? Oh, the backside, of course, of course. The backside, let me just put this over here. We don't really care about it. It's not going to be visible for us. We don't mind it. This part, we can just pack the islands like so. And at the same time, I'm also just going to snap to point, overlap everything like this. And I think that's quite right. And I am going to move it to be maybe gold. Yeah, gold looks quite right. If you're wondering about, you know, having some variation or whatnot, for something like this where it's like a raw metal look, it's going to be quite okay with the reflections and everything because realistically lighting this lighting setup will make a huge difference. This is more of a spherical setup. So just by changing the light, you would have you see there's more reflection over here and on the back, you'd have a little bit less reflection, and you wouldn't even notice that it's the same overlay. But if you want to, you can always just, you know, select a couple of these. Like so click G, move it off to the side, select a couple of these, move to the side, like so. Alternatively, you select parts at random, what you could do, you could Eber click L, and then have the select linked UVs, and then you could just grab somewhat random, like so and then click G and just offset it just like that. Or alternatively, what you can do is you can do selection. Click on select random and just have some bit of probability just like Tat scattered all over the setup. Then you can click Control L and select Linked all UVs. And then it will give you, well, the UV islands, you can just move it to the side a little bit, and then you have your variation just like that. And yeah, that's going to be it for me. Thanks so much for watching, and I will be seeing you in a bit. 36. Atlas UVs for Book Pages & Covers: Hello and welcome back everyone to UV Mapping boot camp, Master and wrapping and texturing in blender. In the last lesson, we left ourselves off with this nice little statue in the back. We're now going to continue on with our UV and wrapping process for the atlases and set ourselves up with books. So it's going to be rather simple. We're just going to go ahead and grab all of these little books. I'm just going to go ahead and drag it like this, hold control, drag it out, like so to make a selection just for the books so we can isolate them. And I reckon we can work on all of them at once. We know that we have pages over here on the side, which are going to be these sections over here on the top, the front and the bottom, and the rest is going to be for a cover. Well, let's go ahead and sort this out. So for Sus, we're going to grab all of these little books like so, go on to edit mode and make a selection. So we're able to encompass all of that page setup, just like that. And I might as well just start this book as well in this book over here. So I'm just doing multiple books at once at this point, which I think is reasonable. Let's make sure we don't remove the selection. Making sure we're taking on the edges, as well. And just like that, we are going to be able to grab all of them just like that. So a little bit of a tedious process, but it's okay. Not too bad. There we go. All right. Now if we have a selection like this, we can simply click U Unwrap minimum stretch, and maybe minimum stretch is not going to work here. Let's see what the issues are. Let's try conformal. There we go. That's what we're looking for. I believe there are a couple of issues though over here. So what is happening here? I believe I might have not selected all of the edges. So that would have been a problem. What's the best way of sorting this? Well. To make sure we have that same selection, I'm going to hit Shift and he just to make sure that we still have that same selection. Then I'm going to select one of the edges like this next to it and see what's happening over here. Okay, so this book is missing. What else is missing? We are quickly checking through them. And this part would also be missing. Let's see where that would be. Alright. So just two of them, I believe. Okay, so what I'm going to do is I'm going to click Alt and H. AldenH there we go. Back to the selections, going to re select this same selection that we had, just like that, and check. I already forgot which one it was. There we go, that one. And something at the bottom over on the other side. Over this one, I believe. Now we can go ahead and use wrap conformal, and now they're going to be nicely straight up. There we go. All right. Let's go ahead and simply apply the material first. I'm going to go out onto the object mode, going to find Atlas. Just like that, click Control L and L link materials. That way we have those materials nicely placed up for us. And now we can well, overlay them first. Let's go ahead and make use out of the UV squares to Sorry, no, UV squares, magic UV. I get confused with them a little bit sometimes. But there we go. Once we get them overlapped, we can just simply do this magic trick and put them on one another. So first things first, some parts might be a little too long. And another thing that can be the case, we could break this stuff a little we could break it up a little bit, but let me have a look if it's needed. Yeah, definitely needed. We need to have more pages than here. So the seams can be on the edges, and that would help us out. And I think that's exactly what we're going to do. So right now I'm actually going to do unpacking real quick. Back islands. So we'd get those separated and just visually make sure we grab all of those edges at the bottom, just like that. Some will be different length and stuff, so we just need to pay attention to what we're grabbing. And the way I'm discerning what I'm grabbing is based on these bells over here because on the corners, I know that there's going to be bevels. And that way, by selecting this type of settings, you can just move them off to the side, and it's going to be quite alright. And this is also going to be part over here. I'm going to check real quick where this part would be. So this is going to be the entire top section, which is fair enough. But what about this part? We already broken this down. That's right. And this part was different. So I'm already making a bit of a mistake. Let me just go ahead and click Control Z real quick and just kind of do it manually and actually take this outside of the images because it was just getting in the way of me visually seeing what I'm doing. So I'm just going to go ahead and see each one of them individually. So over here is okay. This one is going to be the front, so that's going to be okay. This one is going to be the up top at a bottom. And this is another part and just doing it one by one while solding shift and seeing where those bevels are. Identifying that kind of stuff is sometimes pretty neat. And just doing it one by one is going to be quite right because I have phase selection on. I'm not worried about selecting the wrong faces because you only get selection when you're dragging over the dot that's in the middle of the face. So that's something worth knowing. And the selection is right. This one is going to be the front, and it was broken down. And we can just do multiple selections over here like this, like this, like this. And I think that's pretty much it. Let's have a look. So I'm just making sure that none of the front sections are selected, which don't seem to be the case, but this part is not selected for some reason. So let me see where that would be. Oh, this one was this part of the year. That's right. Eva way. Let's go ahead and just move it out of the way. And that way, we can just select all of these little parts and now use the magic UV to snap it to our UV islands just like that. And in turn, we can now have a really nice setup, which one more thing before that I forgot was average island scale. Now with this, we have ourselves nice little book setup, just like that. And if we want even more pages, we can do that for some of them, for example, if we decide to do that, we can. I can select this one book over here and then use S and X to expand it, in turn, making the amount of pages more, as you can see over here. We can also squish it down to make it seem like it's less and that's pretty good. So for example, over here, maybe we want this to be less, which is, you know, fair enough. That can be totally done, so I can just use S&X to scale it inwards, maybe move to the side a little bit for a different pattern, and that's right. But honestly, all in all, it's quite okay. This one over here is a little bit too thick with the texture, so I'm just going to expand it just like that, looking pretty good. And let's move some of the patterns out of the way a little bit. Mm hmm. Move this like this. Yeah, okay. That's good. We are done with the page insight, at the very least. We can now work on the covers. So let's see what we can do with the covers themselves. Let's go ahead and select all of the books. Let's find the book selection, which should still be within our UVs. If they're not part of it, we can just select this part of the here for the book pages and then click Control I, and that's going to invert our selection. Oh, now we can just do unwrap a minimum stretch. Let's see what it gives us. Oh, my, that's not right. What is happening over here? Well, we're getting a mess. Let's try unwrap. Again, that's not quite. So we need to identify what's happening. We can click Shift and H to make sure we hide the pages out of the way and see what is going on with this type of ***. So I'm going to select the issues of one of the areas of issues, which is going to be just in a place where it's overlapping and whatnot, going to see where that would be, and there we go. Now we see an issue. So what is happening over here is that it has additional topology. I'm going to try to use normal selection, which we can totally do so. And that's going to give us this selection on the side, which seems to have been unwrapped properly. So what is happening with this part over here? Why is it not unwrapping properly? Let's try unwrapping it on its own, and it's not giving us any good results. Even though it should, I will now check what it looks like with doo doo doo doo, overlay, face orientation. Maybe there's some faces that are being a little bit odd. I'm going to hit Shift and H just to kind of identify what is going on. So in theory, this should be unwrapping on its own, and it should just flatten it like a pancake. So why is it not doing that? Maybe it does. Uh huh. So that's a culprit. All right. So we found ourselves a culprit, being this part over here, that is, well, part of the mesh for the inside of the book, which, you know, fair enough, we can have that but in order to fix that, we'll need to split that up somehow. And we already have mark sharps set up. These sharps, by the way, are set up if we were to right click shade Auto smooth. And when we have this, it creates the sharp pieces for us. If we were to apply this, it should give us those blue lines which are mark sharps. And I'm just now making side of them too. Hopefully, there we go, make a selection that's separate. The piece, and now hopefully this entire section, we can that's not going to work still. So what is happening right now? What is happening? Well, this part and this part and this part are still having smaller issues over here on the side. So it had smaller parts inside of it, which is, fair enough. Go to turn off the material for now so we can see what exactly the type of selection I'm making. So middle part, left and right part on the inside of the book. If we were to unwrap it now and if we were to try to unwrap this now, there we go. Perfect type of a setup. All right. We got ourselves one book unwrapped properly. We're now going to figure out what to do with the rest of the books. So that's going to be for the next lesson, though. Thank you so much for watching, and I'll be seeing you in a bit. 37. UV Stitching & Layout for Book Covers: Hello. Welcome back around to UV mapping, bootcamp, Master and wrapping and texturing blender. In the last lesson, we identified a problem with the unwrapping with this quick little setup. And it was basically the issue with one of the UVs, one of the faces being hidden in our end. So we're going to go ahead and fix that. We're going to go ahead and select all of the books, click AltnH and make sure we have all of them prepared to be fixed, basically. Let's go ahead and see what we can do with it. Well, for Sarus, I'm just going to go ahead and select all of the troublesome parts just like that. Going to then hit shift in H to hide everything out of the way. And this part, I believe, was, yeah, it was another part that we can hide. Like, so and actually, my bad I clicked L, and it needed to be clicked L with extension. There we go. Like so we can hide this out of the way. Speaking of hiding things out of the way to make our lives a little bit easier, we can notice that some of the parts are, in fact, square, which we can find and just simply hide it out of the way. So this part was part of the inside of the mesh like this. So we can just hide it out of the way, actually move it and hide it out of the way, like so. And now we have all the problematic parts. And this also is something that we can hide. Before moving and then hiding. Oh, there we go. So these parts, the problematic parts, let's see what we can do with them. All right, so we can go ahead and click L, selecting using SHAP and seeing if we can make our lives a little bit easier. I'm going to try to click Control plus and I would select upper section as well. I don't really want this to happen. I'm going to actually do it manually in this particular part. I don't think there is a faster way, although there could be a faster way. We could potentially create some seams that are top and bottom and then just use Limiter using seams. But for now though, I'm just going to go ahead and select these parts of the books like so. And we're going to select all the inside part using Mark Sharp parts just like that. And hopefully, we're getting exactly what we want. This part over here, it's okay as well. Alright, so now we can go ahead and click on rap Conformal. It's going to give us a dice squarish type of setups. And yeah, that's good. We can go ahead now and select all of the book parts. Oh, I found I'm a little mistake. So this part over here was not supposed to be here. This was supposed to be a tiny little part in here. So I'm going to just move it like this as a quick fix. Just rotate it as well, and making sure that we have some bit of texture over here. Yep. Alright. So the way I noticed, by the way, was because we had just simply sticking out for this part. And this part actually over here also has the same issue. So I'm just going to go ahead and check. It seems like I made some really, really silly mistakes while selecting. I'm just going to make sure that these faces are now properly selected just like that. And whilst I'm repositioning my camera, making sure that whilst holding shift, I'm making a selection that wouldn't select anything else within the mesh. So now only these parts are selected, I can unwrap it real quick. Rotate it 90 degrees and move it onto the page setup, just like that. I could stitch it potentially back to the setup, but because it's such a small detail, we don't always need to fix it manually. We can just keep it as it is. And if we have a look at an object with a material view, it will be visible, actually, yeah. The reason it's visible in this particular part is because it does have larger pieces. So real quick, I'm just going to go ahead and select it like this, then expand it like so and now now if you go to Object mode, still visible. So we're going to, we're going to fix that up. So what we're going to do now is I'm actually surprised this is visible. You just need to extend it like this. Sorry, use SX and just shrink on itself just to kind of match the tiling. A little bit, so, even more, actually. Like so. And now, it's going to be quite alright. Even more maybe. Yep, that's quite right. So if we zoom in, sure, it might be quite visible. From this distance, it starts being totally okay. Let's go back to covers, shall we? All right. So we have ourselves these books. Let's go back onto selection. And let's quickly fix up this little issue. So I'm just making quick selection, turning off the material, so we could actually see what we're selecting. And oh, sorry, we already had these selected. Just double checking. Yep. We already had the selected Dasido. We need to make selection. So this part yeah, this part was already fixed, okay? And just like that, we are able to make selection. A little tedious process, perhaps, but using select a link is totally okay for the type of selection that we're doing. And just like that, we got ourselves the backsides. So now, hopefully, if we were to select at all, use An bapicfmal, we're going to get this. There we go. Perfect. So now we can adjust it and tweak it to better fit whatever we have over here. All right. So first strings first, this isn't a perfect type of setup. You can see a lot of outside space and whatnot. This was just a quick sketch up design, just to use it as a sample so it wouldn't actually portray any real books or whatnot. And yeah, let's go ahead and put all of our covers onto this section. So what we're going to do is we're going to go onto material view. I'm going to click Alterng to go back onto the visibility and start off with our first section. So what we can do now is rotated by 90 degrees. But the front of the page, we can just select the front like this and a selection like this or back on front Eva way. And then just put it onto one another. Like, so and we can scale it down until we fit one of the books. So choose whichever book you want. We can just fit it like so, and it's going to be quite right. We're basically doing back and front to be the same. But for a decorative purpose, you know, for the scene, it's going to be quite alright. No one is going to be checking, you know, back in front like this, especially when they're covering each other up a little bit. It's going to be quite right. Alternatively, we could, for example, if we're having a darker front, we can also find an alternative that would have a similar result, and we can apply that same type of a look for the book. Then we have the backside. Let's go ahead and fix that. We are going to click L UVs to select where that is. Going to hold control to select our parts and just apply it to the side like this. And just by applying it like so, clicking S Y to kind of maybe stretch it out a little bit, we're going to get ourselves this type of a look. Think it's looking quite right. We might want to have a text or something over here, but honestly, not every book needs that I don't think, so it's quite all right or we could just rotate it a little bit, make it a little bit smaller. And if you see a text over here, just a simple blurry text, we could potentially have it as part of it. I'm just making sure we are adjusting to a reasonable amount. So this seems to be quite right. However, yeah, you know what? Visually, this is quite right. I'm a little bit worried about this section being dark. So I will do is I will just grab this upper section, like so, like GY, and just kind of pull it back. And although it starts overlapping like this for something like a book over here for small resolution type of a prop, it's perfect. It's going to look quite nicely, like so. Yeah, just manipulating a little bit of text. And I just noticed this needs to be rotated 90 or sorry, 180 degrees like this, and I believe. Yeah, it was upside down. So now the text looks like a little better, like so. The backside is covered. I don't really mind if a so that's okay. And we have more books to go through. So let's get ourselves a second book, this little one over here. Let's go into Edit mode, select the parts to go through. So this 90 degrees. And I do want to actually check since there was a mistake with the previous one. Last time, which is the top and which is the bottom. So I'm just selecting some paces with UV sync, clicking on a dot and seeing, this is the bottom, so we might as well rotate it 180 degrees. Oh. 180 degrees, there we go. And this part is going to be also bottom. So we also need to rotate this 180 degrees like so, and I'm going to check over here as well, so this is the bottom, so we can just rotate it 180 degrees, there we go. To be the top, yep. All right. Now that we have the top and the bottom and whatnot and this little piece over here, which I don't think we touched on the inside of the previous book. So real quick, I'll just go back. Click L to select it based on the UVs and just put it inside of the edge of the book actually over here. So even though there is some empty space, I'd like this to be like soon darker and whatnot, and I think it looks quite nicely like that. So, yeah, going back to this book, let's go ahead and do some manipulation. So we're going to grab this, overlap it. Like, so it doesn't need to be perfect, by the way, this type of setup with the UVs. Especially when we are overlapping on atlases, because it will look quite off regardless. For example, this book over here, even if we expand it, the book itself maybe is a little bit wider. So, for example, we'd have to widen this up and whatnot, but even so the edges might not still be quite as perfect. For that, we could grab this part over here, for example, just realign it a little bit, like so. So yeah, we could do some smaller tweaks, and I just realized by mistake. Let me just control. In this particular part, we need to make a selection like this. We need to take off the UV sync selection, and now when we have this selection like so, clicking GY is not going to break our UV islands, which I have previously done it before. And simply I'm just realigning what I want to the setup. And just like that, we're going to get a real nice book cover. Now what is going on over here, though? This is missing a face. So that's not right. It seems I have missed a face. Where is the face gone? Well, if something like that ever happens to you, just, you know, select the face, and we can either, you know, unwrap it again, using Eva Smart projection, conformal, unwrap, anything like that to get the faces back. And then we can just simply go into Edge selection, select all of those edges like this, right click and Stitch. So it stitches back up, and how we can just reposition it like so and get ourselves the book back. And I'm just checking if this also needs to be moved, which does. That's fair enough. Let's move it somewhere. Like so. And that's Hmm. We also have this on the side, which, yeah, we definitely need to move it. So in this case, we left off this side as a separate UV space, which is fair enough, but I am worried that this is this is looking a little bit off. What is this? This is not right. Yeah, this is not right. So what happened here was it wasn't properly UVNwraped, so I'm just going to unwrap it using non conformal. I guess this book was left behind. I could either stitch it like I shown you before, or in this case, o I can move it to a certain section over on the side. So I'm just going to rotate it, maybe put it like this, stretch it out a little bit. And now the name is going to appear nicely on the setup. And I think stretching it out a little bit just to get it nice text. And I think that's looking pretty good. It also matches up with the edges and whatnot. So yeah, we're going to continue on with this little practice in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. M. 38. Final Atlas Tweaks for Book Variations: Hello. Hello, welcome back everyone to UV mapping, Master wrapping and texturing blender. In the last lesson, we left off with some creative ways for making use out of the atlas to add a little bit of text for the books to the covers and whatnot. And now we're going to continue on with the placement of those UV tiles. So let's go ahead and keep moving. We're going to basically go through the same process now for all of the books. And see what else we can do with it. So let's go ahead and just, you know, unwrap them a little bit. Break them up, that is, into a little bit of islands. Let's see if they are properly positioned. They are most likely not. Both of them need to be rotated, and that's fine by me. Let's go ahead and use our Z Z 180, not 108. Like so. And let's see what we can do with this one. So in this time, in this case, this kind of book is, well, actually also quite covered. So I'm not going to bother about getting this book a unique cover. I just want this to be nicely placed up for this type of look. I think that's going to be quite alright. For the side, we can just simply put it as the name of the book, which is over here. Like so it's a little bit too big, so let's go ahead and just try to get that text back just like that. Something a little bit. Like so small tweaks, and we're going to get the text onto our book. So this is a nice little setup front cover, side cover. That is pretty cool. Let's see. We have this leftover. So this is what's keeping the pages of the book, the backside, the binder. Let's go ahead, and you know what? Let's make use out of a more interesting color. But it's still, I think, bluish hue is going to be quite right, so I'm just going to move it over here, so to get this kind of result. And I think that's looking quite nice. This book on the side. So this is going to have the front, the back both visible quite heavily. So for that reason, we can make use out of or setup two. Get more unique looking cover. I'm going to actually right away and rotate them 180 degrees because I know for the fact that they're going to be same. There we go. The upper section is here. So this time, we're just going to move the parts into the same section, and s not the same section into different sections, yeah. So one section perhaps could be over this one, like so, just like that. The upper section could be over somewhat of a bluish hue book. Something like so. And now it's going to look quite nice. Back to front quite right. If you'd have an atlas where you have some variation of front, some variation of the back. And depending on the type of color of the books, you'd be quite set with that kind of setup. So the binder can be it can be brownish tint, I think it's okay or greenish tint, actually, there we go to match the color of the book. It's quite right. Can make it a little bit larger though. Here we go. Nice little setup like so. And the back or the front, the text of the setup. Let's see what we can get. I think we can get this. Like so. And something like that, perhaps. Yeah, you know what that would look quite nice. It would look like a binder is a bit of a different color, but will make it basically look like it's just another part of a design of the book. So I think that's quite right. I'm just going to widen this so the text isn't stretched out. Make it a little bit smaller. And just like that, we got ourselves yet another book, except this time, I just realized that the same name is applied over here on both sides. So put to do to do what can we do? Well, we could move it to another name, or we could, it's moving to another name. We could pretend like, you know, it's like Book one, book two type of a setup, and it's like an Alfors name or something of that sort. But I really, really don't like that. So let's go ahead and just quickly fix that. I'll just move this to whenever green book that I find over here and just kind of squish it quite a bit, so we would get this nice type of idecal result, which I don't like, actually. I'm just going to move it over here instead to the book that we had yeah, that's much better. So mix and match with, like, atlases and stuff is quite right. Checking whether or not they look quite okay is reasonable. Also, we have a little bit more of leeway I'm just letting you know, because these are like, low resolution type of setups. If this was like a four K type of atlas instead of 2048 resolution, we'd have way more need for accuracy. So maybe a text over here, you know, is overlapping a little bit or something. We'd have to well, tweak the parameters a little bit. But look right now, it's looking pretty good. This over here, I'm going to go ahead and make yet another piece. So right away, we can just rotate it, 90 degrees, rotate it. Again, 90 degrees and we have the front and the back of the book. And I just realized 180 like this is going to be quite alright. I am not going to worry about having a duplicate front and the back. I'm just going to place it as it is, and it's right, and it's not alright. I want to move it over here. I was thinking about speeding this up. I changed my mind. I think that's going to be better. So let's go and move now this part, which is book binding onto onto maybe an orange book binding would be quite nice. The book bindings themselves are quite low topology, so I'm wondering if we can get a higher topology out of it. Honestly, it might be might be quite right. We could also just, yeah, shift it a little bit outwards, you know, so it would look like a separate color. That would also be quite cool, up to you for just playing around with the UVs with atlases and stuff. And finally, we have this little piece, which is going to be over here. And let's rotate it, and let's put it as a nice name or text. So I think I'll just put it over here. And just like that. We are getting some nice looking books. We still have the outside, so let's see if we can speed this process up because it's getting a little tedious for me. I'll be honest, probably for you as well. So let's see if we can speed it up. So I'm picking all books at the same time and just grabbing all of the pieces like this. To do to do this part needs to be actually, I'm just moving it up to the side. And did I make a mistake over here? I did make a mistake. Going to go ahead and click Control Z, like some. So what's happening here is making sure, well, slightly moving them apart because there was no gap in between. It was hard for me to make selections, and now I can make selections like this with ease not making sure that I'm not selecting our island accident just up and down, up and down. So we can now separate the front and the backs from the book binder part, the front where the text goes. We can click G, move it out over the side. We can click, R 90 will work. And then I believe all of this is the bottom parts, correct? Bottom bottom bottom, I'm just checking visually if you're not seeing over here. So visually, I'm just seeing them highlighted whilst I'm selecting them. So now I know that all of these are actually facing upside down. So 180 like this will now mean that this is the top. Yep, perfect. All right, so now we can, well, start overlapping them. And to make my life easier, I'm just going to go ahead and do this for every single book, just like and, like, some. And now we can just quickly do what two free and be done with it. Yeah, let's do that. So this book, pretty good. Nice book. This book let's move it onto a number one. Feel free to, you know, mix and match them front and the back if you so choose to. That would be quite cool. I think it gives nice variation for the books. Feel free to create your own design, you know, for the book covers and whatnot and use it to just apply it as a separate material. That would also be pretty cool. Give a way. Let's go ahead and finalize these setups. So let's go ahead and for this book, I'm going to put it over here probably. There we go. Nice little book over here. And now we got these parts over here. So I don't want to bower too much with them. I'm going to overlap them with our Trustee UV manipulator, snapping it to part and moving it to just some random binder looking boring type of setup, maybe even white. Since it's binding the pages, it would be totally reasonable, although it's a little too bright, it is a little too bright. I don't like this being as a binder. Such a white. Contrast. So I am going to put it as gray. Yeah, I will put it as gray. I'll squish it up a little bit, put out, like so, and we got ourselves some black binders, which is pretty cool, I think. And now we got to work with, well, these parts over here, let's go ahead and just rotate them and start speeding through because we can. Boom, boom, boom, I'm just going to pick some books at random. So this one has blue cover. I'd like to have, well, maybe blue text over here. Like so. And that's quite right. Is it right? It's not. I do want just to be a little bit wider. Like this, yeah, that's quite alright. Although this part I don't like I don't like this part, honestly. And to fix that, what I will do is just grab this part. No. This part over here. Just move it up a little bit, or you know what? I'll just move it down even more. So it would look even more intentional like this. Yeah, it looks quite cool, part of the design. Very nice. Another site, another page. Let's see, let's see, let's see. This one over here, can be can be res or whatever the thing is saying over here. That's quite alright. Expanded a little bit to squish the text. There we go. Something like this. Perfect. Now just realize this part, what happened to this part? Uh oh, I ended up. Did I end up with the text? I did. I'm going to go ahead and select this part over here. Click G. Oh, no, no, no, no, no. Let's do it like that. There we go. So yeah, the text was not visible over here. That was a mistake on my part. Now we can move on to, well, finalizing the book covers, making sure the fronts are nicely manipulated with the UVs, making sure we're adding that extra bit of detail. And you know what? We can even keep these vertical as well. No one says we can't. So, for example, over here, we have text on top and the bottom. Some of the book designs are like that, and that would be really cool. Although here it's a brown book. It's not going to be quite as fitting, so maybe even, you know, move it over here and use Sx and just squish it like this. And that way, we need to also rotate it 180 degrees like so. And that way, we are able to get the entire text. Kind of squished into the section over here. It's going to look like it's part of the book, and I think that's actually pretty cool. It is looking quite nice. So that's another way to manipulate this part. Finally, we got this little piece over here. Let's see what we can do with it, and we just realize there is leftover UV, which we're going to look at it in just a little bit. I would like maybe to have yeah, you know what? I would like to have this. This part over here. I think it's going to look quite nice. We have some nice text over here. We need to rotate it, though, to make sure that the text is nicely on the top. And, yeah, that's I think that's, you know, that's looking pretty cool, pretty nice. So we are I believe we are finished unless there was this part over here. What is this part? So I'm just going to check. Oh, it is the inside. Of the setting. And I for some reason, just slipped my mind. Let's go ahead and apply it over here onto somewhere like a side over here. It's going to be quite alright. And I forgot about the rest of the books actually with that inside piece of the cover. I'm just seeing the mistake now. So let's go ahead and make sure we hide them out of the way. We're going to overlap it like so, because it's such a small detail, we can simply put it somewhere in our book uh, parts. I'd prefer to have it like somewhere like a bit of a dark edge like this. And now we're going to have a nice little dark gradient for the inside parts. Even if it's a light book, I think it's quite alright to have it like so. And let's have a look how it looks like within the scene. So there you go. We're going to have some really nice books. So that's going to be it from this video. I really hope you enjoyed it in regards to how we can manipulate the book visuals to edit for the front cover, for the side cover, and whatnot. Out of simple Atlas, we can have so many variations. Thank you so much for watching, and I will be seeing you in a bit. 39. UVs for Pots, Plants & Organic Elements: He. Hello. Hello, welcome back everyone to wing Mapping, boot camp, master and wrapping, and texturing and blender. In the last lesson, we left ourselves off with this nicely finalized type of a shelf, but now we're going to continue moving on to this plant section over here. So to start off, let's go ahead and just work on the pot part of this plant setup. We're going to make use out of one of the textures, and I think we can just use out of this darker gray over here. This one will be a nice little marble setup. Let's go ahead and do that. Let's select the mesh, and now you'll notice that this, hey, it looks a little bit different. Well, this mesh over here is actually a decimated mesh. So sometimes from pred scans and whatnot, you'd get this type of setup. And although it's not perfectly type of a setup for an optimized use, it's still usable overall. But that being said, it is a little bit harder to unwrap. So I'm going to isolate this plant or plant like so and start working with the setup. So for Sas, we're going to check around the mesh, and there is actually a little bit of a hole over here. So bottom can be either placed and hidden, like so, or it can be just deleted completely because it's part of the same plant. I know that it's not going to be tilted or anything like that because it would look really wrong being like that unless the pot would be a separate mesh. But to save up some um space on Vs or just to make our lives a little bit easier. It's okay to just look for things to delete if needed. So maybe over here if we select this pot and hit Shift and H, we'll see maybe some parts underneath the dirt, which is not the case. But if there was some parts underneath the dirt, we could easily delete that. Right now, there is nothing here. And actually, this read is getting in my way now, so I'm just going to go ahead and hide it out of our way like so. Alright, so we are going to unwrap this as a cylinder, actually. But we're only going to do it up until this point over here. The reason being is that if we try to unwrap it all the way, it could work, but I try to avoid such sharp corners with this corner over here. This entire part piece, if I wish to change the material is, well, a little more than 90 degrees. And then it'll start warping the entire setup. So I don't really like having that type of setup. Let's not think about that just yet and select one piece, then go all the way to the bottom and select like a piece over here using control, and that's going to give us a shortest path. Now, we need to consider whether or not this setup is going to work for us. So if we want a bit of a breakage and whatnot, we could potentially use it with our neutral noise of a texture if I wish to apply atlas like so with the neutral noise of a texture like this, it's not going to be as visible for a seam, but even so when I'm working with a decimated type of meshes, one way to avoid this entire setup would be to use bisect. And if I was to click seven, select it all, use mesh. Bisect and just drag it across, so I can create myself additional seams, and those additional seams would help me to break up this entire part. Now, on the other hand, I might not need it on this up side, so I'm just going to go ahead and deselect it. Or alternatively, what we could do is we could simply select this edge only, this side, then use mesh bisect and when we're using it with the selection, it's just going to give us a much nicer way to go for only one side. So with that said, let's go ahead and have the selection mark seam and we can now unwrap it actually. We're going to use a shell setup on the inside. But just having a look at the seam as the way it looks like right now, there we go. A nice little waist pars. And yeah, this part over here. We can go ahead and make a quick selection. If I was to hold Alt and just select this entire edge loop, seems like it will go all the way around. Now I can click plus Control plus and click free to make sure we are in a phase election. This will make sure that gives us a nice phase selection, and then we can keep on pressing Control plus until we get to a certain point. And maybe once more. Even once more, there we go. So this type of selection is going to be good for us. We can go ahead and click two to go on to edge selection, then go on to well, select loops, boundary loops and click Mark Sam It's going to market at the bottom. I don't really care about the bottom. Ivo way, it's going to be not relevant realistically for us. Let's go ahead and select this based on a Sam. Click U and wrap minimum stretch, and now make use out of it, put it nice like so. And this is going to be unwrapped with minimum stretch as well, to get us a nice little shape. Alright. As for the dirt, let's click Old and H, select this using L, and we can just unwrap it or even Smart Project, if a wave will work, honestly, because it's a flat surface, and we can just place it over here. Nothing too much. It's already looking pretty nice for us. Now, in terms of the plant setup, we have over here to make it easier for us, just a simple green type of a grid, not a grid, just a directional noise. But with plants, with atlases, sometimes you'd get partially transparent type of setups. Those would be a little more complex. You'd have some well cut outs of leaves and whatnot, which you could set up your own shapes of well, the foliage. In here, though, we can simply select all of these. And I'm just looking at leaves. I believe these leaves are separate. Yep, they are. Which means that we can make our lives a little bit easier. And what I mean by easier is if I was just to select this bottom section like so, yep, that's good. We can then click Control plus or actually hold it even. I'm going to hold Shift and select this part as well. Click Control plus, hold it until it grows this entire stem to be selected. I'm then going to move it off to the side like just these UVs, basically. Like so just a reminder, though, they were previously unwrapped with project from view. That's why I'm seeing those UVs. If you're not seeing them, make sure you do that beforehand. Now, these leaves are going to be simple planes, which we can go ahead and select. And I'm seeing there is actually something else additionally over here at the bottom. So what is over here? So there is a small stem which is part of it. So another reason why I'm doing project from view sometimes, because it allows me to see what I don't usually see otherwise. So for example, the trangle over here, that's not needed. We can go ahead and delete it. This part over here is also not even going to be visible, I believe. So we can also delete it. Delete vases, just like that, and we got ourselves set up. Now, going back to the leaves, let's go ahead and select those leaves. Let's unwrap using I think conformal will work quite well. It does. And now we use our magic squares. Yeah, magic squares and snap the point. So it overlaps everything. Then we can move it off on to the leaf, just like that. And to make it a little bit nicer, I'm going to go ahead and just click Alt Sorry, shift in Always get those mixed up. Once we have it like so, we can go ahead and just click Double click A. The select select random. There we go. Small percentage, somewhere on the leaf. 0.005, perhaps that will be enough. Yep, seems like it's enough. We can then move it like so double click A and do the same thing a couple more times, actually. L so move off to the side and select random, like so. And oh, actually, let's change up the seed as well. Gives us a bit of that extra randomness. There we go. And yeah, just moving it around a little bit. That should be enough for variation. Just like that. Now we have ourselves if we go out of the hiding mode, the hiding mode, we have the stems over here. Now, with these stems, we could do it as we always do and unwrap it as cylinder. But because these are such pin type of setups, what I tend to do sometimes is just simply overlay it as is. Again, this is with the project view. So project from you. I think I'm actually going to reposition my camera to be sideways a little bit and project from you. And now I'm going to place it on the wood part like, that's going to give us just a little bit of that texture. And that's actually it for the plant. So if we have a look within the scene now, by clicking the out of isolation mode, there we go. We got ourselves a nice, luscious little plant over on the side. So that's pretty cool. Alright. Let's move on to the piano. We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 40. Smart UV Flow on Piano Exteriors: Hello and, welcome back everyone to UV Mapping boot camp, Master and wrapping and texturing in Blender. And now we are finally ready to do our piano unwrapping. Let's make sure we have a look at it at the beauty of it and elegance before we start unwrapping. And right away, we're going to apply ourselves atlas material onto it. We're just going to look a little bit messy, but that's okay because now we're going to start doing some texturing using the UV appliance. So what we're going to do is yeah, we're going to just simply start with the overall shell and work our way inwards. Okay. So let's go ahead and select free, click L and see what we're working with. We're going to base our delimeter based on normal and then see which parts are well separate pieces. This part is a separate piece. This is quite a nice little flat surface. Let's go ahead and make use out of our UV and wrapping for Smart UV project. Let's use it like so, and we have the upper section and the bottom section. All of it is nicely set up. The only thing now left is the sides. And the sides can be just, well, marked UV seems. Actually, it does seem to have the seams already. I'm not sure if I place it by accident during the practice or if I just add it right off the start within the resource pack. Either way, if you notice like that, you can just clear the seams and we can have a fresh start. And for this part, well, let's go ahead and hide these flat surfaces out of the way so it wouldn't get in our way. Now, select edges. So we're going to select one edge over here. We're going to select another edge over here, bolding old select and this part would be way too long, so we're going to have to divide it. Folding Alt and Shift. I'm clicking over here. And just to split this entire length, so from here to this corner, we're going to just place it somewhere in the middle, so it's a small thin little piece. So even though it's a smooth surface, it's okay to just mark seams in such areas because what we're trying to do here is simply we are trying to unwrap it using minimum stretch. Oh, not minimum stretch, uniform conformal. Somethin is not right. What is happening over here? Well, this part for some reason, decided to stay. Why? I don't know. What's happening over here? Aha. That's a culprit. It was not properly unwrapped because this part over here had its own unique little setup. Okay, so I'm going to hold Alt and remove the seam and select one that's a little bit closer, like so, so it would just touch the edge like this. Mark seam and it's probably the same thing on this end as well. If I was to guess going to just select it and use ShiftinL. There we go. And let's see. I'm going to also select the edge over here and click the dot button so it refocuses so we can get this close up shot. That way, we have a little bit more control over here. Alright, now, hopefully we can go ahead and select it. Click on wrap and minimum stretch, perhaps. I a way, I think it would work the same way because they're just lengthy pieces. And we're going to use red wood for this because I think red wood would look very nice for this piano. I was considering to make it like a whitish marble type of a look, which would have been quite nicely set up as well. No marblesh. This is more like painted type of a material. If we have a look at it a little bit closer. But Ava way, it would work quite well. Ways, let's click AltnH. Find ourselves these little pieces over here, overlap it one with another. Doesn't matter because it's upper and the lower part. So from the same angle, it's never going to be visible both sides. And for that reason, no one is ever going to detect pattern. So even if it's completely overlapped, no one would notice. All right. That is looking quite nicely. So next up is going to be well, let's see. Let's click L, and we're going to unwrap all of this rounder part. So let's click Alt and H or Shift and Again, I keep on missing that. I'm not sure why. I'm also going to hide this out of the way because it's just been bothering me a little bit, like so. Now, let's go ahead and start the unwrapping process for this. I think for this particular part, let's have a look. Let's have a look. Actually, it'll work quite well. So I'm going to hold Alt, select it like this. It'll go all the way around the loop because it's a bevel selection, which is fair enough. We can mark SM and hopefully do the same for the bottom part. Yep, goes all the way around. Mark SM Now let's see what else we're working with. So this part over here, perhaps. Nope, doesn't want to select it. That's okay. We can always just select it up to this. Nope. And that's okay. We can also just do a selection like this. I'm just constantly looking for ways to make my life easier with selections when unwrapping and setting up these pieces. So now I simply went into C free mode and position my camera so it doesn't select this out side by the way, just to get this type of selection. I'm going to click G and just move it out of the way. I'm not even going to be bowed by marking SM. I don't need to in this particular case, because I feel confident enough in whatever I'm doing right now, which is not much, but it's something. And this is the part I start regretting why I've not done the markms because I don't know where it ended. I believe it ended closer to this part because the selection I did was massive. So I'm just going to make sure these little parts are also selected. That's looking good except for this part. I don't like this little part. Let me make sure to deselect it, and there we go. We click G, move it off to the side, like so. So now if I select this side on the UV, it's going to select them both completely, just like that. Perfect. Really nice. That's one side done. Let's go to the other side. Let's see. Probably the same way, probably the same way. Old Z, making sure we're getting those dots, CFR mode, and selecting it just like that. Then selecting whatever is not needed. In this case, also, you might try using select Lasso, which would allow you to, well, make some organic, more organic type of selection. Personally, though, box selection is my way to go, my jam. Totally, I'm going to just use it as is. And move on to the small piece. So this small piece over here. Actually, you know what? What we can do is just simply select these pieces, click H, and hide it out of the way. I'm also going to select by clicking L, select the SM if I can, there we go and just move it out of the way. Click H to hide it. And there we go. Mm hmm. There was a bit of a different selection. That's okay. So I'm just hiding the piece out of the way when I feel like it because it simplifies the mesh and shows me the rest of the progress that's needed. This part at the bottom should have been also hah. Okay. So this part over here is a separate set. So that's good to know because we can make a selection. So mark SM. And now just use L with the Sam delimiter. G, move it out on the side. And this part, this part. This part can probably be selected like this. I'm hoping it what is happening over here? Is it selecting? Is it not selecting? It seems like it is selecting, but because of the bowels, the visibility was quite a bit hard to see. So holding Alt and Shift, I'm just selecting this upper section. By the way, the way the selections work is, if you hold Alt and Shift or talking about just selections in general, it's going to select closest to the cursor. So you don't have to be exactly on the line. You can be a little bit to the right of the line, and then it'll select the closest to the cursor. So that way I'm making sure that it just selects this outer piece, so and it's going to give me this nice little selection. Is it a good selection, though? That's an oral question because I noticed there are some issues. Yep. I don't like these issues. That's okay, though, because we can click old Z and just remove it like so. And on our side as well, Old Z, remove it. So we have these edge loops at the bottom, which we can just remove it like so. When it comes to the selection with edges, now, in terms of this selection, I can, for example, deselect this little piece over here, but it's not going to diselect this longer part over here. And the reason being is that if I was to basically cover the entire diselection, it's then going to diselect it like so. So holding control, deselecting the part over here, is going to make sure that it dis selects everything horizontally, but not vertically, unless, of course, there's nothing to diselect in that case, anything it touches, it's going to diselect. So just something interesting, bit of a mechanic in blender. So, yeah, let's go ahead and continue on with this little bit of abomination at this point, honestly. Let's see. We have this part. What is this part? This part is separate. That's okay, though. We are still good to go. We can stitch it back in. I am just seeing if everything else is properly unwrapped. So these I'm hiding. And, yeah, now we are basically left with, like, just two dimensional type of apiece, which I'm going to just make a seam in the middle vertically just like that to make sure we're fitting within this little square. Because, again, length sometimes is the only limiting factor. So now I can go ahead and just select all of it, so including this little square, by the way, and using minimum stretch. Hopefully, it'll give us no, I don't like it. Conformal. There we go. A little bit better. What is this little piece? Have I missed it? I did. Uh huh. Okay, not to worry. I'm just going to move it off to the side, because that's a little bit of a different way to set it up. I'm checking now if everything is right, and this part should not be like that or should. It's huh. So I selected like so. There is a piece that is connecting them. What could it be? What could it be? Aha. I missed this part. Alrighty. That's not a problem. Let's go ahead and just select the using Control, the News Control plus because everything else is hidden for the top and the bottom. And then I can just click G to move it out of the way, like so and then unwrap these parts conformal. There we go. That's what we're looking for. I'm going to also use Magic QV, snap to point to just overlay everything and just make a little bit smaller until we start fitting everything into this nice little square, just like that. So we're almost done. We just need to unwrap Oh, we just need to unwrap the other little parts. Yep, I'm going to now click AltnH and see what we have, which we have quite a bit. We have all of these little chunky parts to do. I'm checking my time to see if we have time. And honestly, I don't want to rush these parts. I think we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 41. Curves & Small Part UVs for Piano Details: Hello, and welcome back everyone to UV Mapping, boot camp, mass and wrapping and texturing in Blender. In the last lesson, we left ourselves off with well, the piano. We're going to continue on with the texture process for it. In this case, we're going to, well, make sure we finalize this wrapping over here. And I noticed that there is this little section over here at the top, which I would like to, well make sure it's part of something. So I'm just going to go ahead and select the edge and going to stitch it onto just another side like this. Now we have all of these parts, and this part looks quite small, but it's acceptable because it's this little piece over a year. And what about this little piece? This little piece is going to be over here. All right, seems good to me. Let's go ahead and select. Oh, one more thing I'm missing. Did I miss something over here? I did. Uh huh. Alright. Not a problem. We can go ahead and just stitch it back into this. I'm not sure how I missed it. Probably because of the selection. That's okay. Go to well, select it on the edges and use the stitching. There we go. Now it's going to be part of the setup. All right. So right away, what I will do is I will simply unwrap it using conformal, see what we're going to be able to get, and I will just do it for the top and the bottom. And that's going to make sure we don't get this as one piece, because if we were to unwrap some of the pieces, some of them will end up being well the same spot. So I don't want this to happen. I just want to make sure we are getting something out. In terms of these UV chunks. And the reason I'm taking an extra care with these particular ones is because, well, they are curved and we want to make sure that they are following UV, well, not UV or wood over here. So this part, let's see what this is. It's the bottom, fair enough. Yep. Okay. So we can use Altny like this, let's see what it gets us. Seems like it gives us a nice setup, except for this part. What is this part over here? Uh huh. So this part gets unwrapped sideways, and that's fair enough. So I'm trying to think on what would be the best way of sorting this out. Honestly, The easiest thing would be to just lock one position and just simply unwrap the whole thing. But I will continue using this and just move this sideways. Then grab the selection over here, stitch it, and stitch Yep, like so. Now we got ourselves nice little setup over here. The same thing goes over here. So I'm just going to remove these pieces like so, and just ditch this part. And although some of the pieces are not going to be connected and some of them are a little bit going to be distorted, it's such a small piece, you are definitely not going to be able to see it. So if I was to show it to you and just put it over here, you will get this type of a result. Real nice type of piece for wood. And here, what happened here? Well, I believe I moved some of the edges, so I'm just going to re UV and wrap it again and move it up to the side. Because I was in the edge selection. I made some little bit of a mistake. That's okay, though We have ourselves nice setup right now. Now, in terms of this piece, we can probably make it follow the length. So with this selection, I'm just going to hold Shift, double tap on one of the edges and use follow active quads unwrap it. Hopefully, that will do the trick, which it does, except these parts. Why are these parts split over here? And I am not so sure, actually. So I will just stitch it back to its piece. Like so. Now we've got ourselves a nice straight piece, which we can, well, move it to the side. Again, I'm making sure that it's face selection and just placing it like so. In this place. I believe these are the only curved areas, so we're not going to have too much trouble later down the line. Let's just make sure we place all of the pieces in the right position and making sure it has somewhat of the same type of the sizing as well. So this piece, for example, will be smaller. Just like that. Looking pretty good. And there is one more piece, which I'm missing somewhere, there we go. Oh, those massive pieces over here. I'm going to unwrap it conformal and just place them out like so. To get this a result. All in all looking good except for the top part, which is fair enough. We can go ahead and fix it. We're going to go ahead and click L to select it. Hold Shift, double click to make an active selection. Then right click and right click and not right click U four follow active quads, length average to get this result. And this piece though, yeah, it is too long, particular because it's the upper part, we definitely want to make sure that it gets nicely placed. For most of the resolution. So I'm just going to do it something like this. Yeah, to get a nice bit of texture for the wood. It's looking pretty good. All right. Let's move on to the next section. So we have some of the parts over here with the piano. Can we sort this out? Of course, we can? We're going to click LLL and just move it out to the side a little bit, see what else we're missing because I am seeing that we are missing some parts. So this part at the bottom, and I'm going to click on the dot to make sure that we refocus our mesh so we get easier ways to zoom in and out. And I'm seeing that we have some of the little piece over here, going to click Old Z to just select it, making sure that we're moving it out a little bit, just to see what we're dealing with. And we're dealing with these parts. Okay, so Alright. So this part over here, we can see that it is a separate mesh, actually, or it is not, but for some reason, over here, it was being separate, which is fair enough. We can get back to that. For now, though, let's grab the nuts and let's put them on the unwrap conformal, nice little bit of geometry and shrink them down until we get this type of piece, like s and just put it on a black setup over here with a little bit of texture, like so, get this result. Nice little black spots. Very nice. Alright. Now over here, we can grab them like so and just checking where they are. You over here, I'm going to start with this part over here. Let's see what we can do. I'm going to click Shift and H just to see if the backside is Yep, it's still there or is it? I think I will just use space orientation just to see. Yeah, partially is partially isn't don't think this is visible. I'm going to double check. No, it's not. So I'm not sure why this part is here. We can might as well just delete it. Just double checking for, well, anything additional. And once we have it like so, we can just cut it in half, honestly, the cylinder. So this part over here would be a separate piece, which is fair enough. We can just hold Alt and it would go all the way around. But it does in this case. Mm hmm, mm hm. Alright, to make my life way easier to not worry about the topology, I'm going to hold Alt and just click on the faces going all the way around. Now this time I know it goes all the way around. Hold shift and select our side as well. This time, it doesn't want to go all the way around. So that's kind of annoying, but oh, well, let's go ahead and just hold tunnel and part, and there we go. Now we got this outer and inner selection. Moving to click two going to go on the selection loops, boundary loops and Mark Sam. That way, I can make a selection over here, just on an edge, like so make an over selection over here. And just like that, we're going to Mark Sam this way, we essentially create ourselves a little doughnut going all the way around which we unwrap. And the flat surface is also going to be well with seams nicely unwrapped. So if we were to use minimum stretch, we're going to get this result, which I think is quite alright, except what? What is happening over here. This is not right. So I think I'll try it again. Maybe it's not enough iterations or maybe it's too much iterations. Mmm hmm. This part just doesn't want to work at the very end, which I am not sure why, to be honest. So what I will do is I'll try a different method for unwrapping, and there we go, much, much better. That's exactly what we're looking for. Alright, perfect. Let's go ahead and just move this on to the bronze part. I think a bronze holster is going to look quite nice or even a golden one, actually. Now a golden one doesn't look quite as nice. Broonze looks perfect. Alrighty. So we got ourselves the cylinder over here. I'm going to click L just to make sure that these are the only parts that are here going to hit Shift and H, like so, and optimize the mesh a little bit. Well shift selected over here on the top. So just deleting the upper lower parts, just like that. And they have some parts over here. Which is fair enough. It can be kept as is, or we could just do a little bit more of a cheeky way and just use SmartTV Project as a starting point and then kind of optimize it afterwards, all the little parts. Yeah, that's exactly what we're going to do. So right now, I just grab the setup, make sure we get these lengthier tubes over here, and we can just turn them into L into a nice cylindrical projection. That way we have best of both worlds quick on wrap, and the parts small over here are going to be taken care of by UVN wrapping because as an atlas, we don't really need too much optimize it, and we still want to grain the grangins to be reasonably hidden with the UVs. All the artifacts and whatnot. So what I'm saying here is that we're going to turn these longer cylinders into more reasonable setups. Let's go ahead and go on to edge selection, loops, boundary loops, Markem, and now we can just simply believe select one part over on one end, another part over on another end. Like, so Markem. And now, hopefully, if we were to select all of these parts, unwrap conformal, it's going to give us a real nice setup which we can place it in a bronze. I think it's going to be quite right. Or if it's a wooden stick, maybe it would be quite nice, as well. In this case, I'm just testing it out, seeing if it would work or not. So I think it definitely should be a bronze. Or we can make it a bit smaller as well. This black piece should still have a little bit of a resolution enough for this part, which I think is fair enough. And for these parts, we can just move them onto the bronze section, and there we go. Nice little setup like so. This part over here, we need it to be also unwrapped. So it's just a cube with a hole, which is fair enough. We can go ahead and just click Shift and H, click dot to make sure we focus on it and use quick UV unwrap. And if we want it to be extra fancy, we find the hole over here, like so, and just stitch these parts. So I'm going to stitch it I believe it's not going to work because yeah, there is a novel part over here. So I might as well just select it, like, so I was trying to be a little bit fancier. But no need. We can just, oh, my right, right, right, right. There is no Sam, so I'm going to mark Sam from upperside actually. Like, so then click L on U Vs. Click free Face Selection, unbrab conformal, and there we go. Nice and easy, little simple type setup. Let's put it in the bronze section like so to get nice bit of a resolution. So that's looking quite nice. It can be even smaller. Doesn't really matter in this case. I think it's looking pretty good. Although I don't like how this is black, actually, I will change it. Sorry about that. Let me go ahead and click Old and H, and I will change this little part over here. You'll be on a white section, actually. Or even on a gray section. Yeah, gray section works quite nicely. So just me testing out certain ideas. Feel free to, you know, it's a decorative stick, bit of metallic parts and whatnot. But, you know, feel free to play around with it. Putting it maybe as wooden, even red would work quite nicely as part of the setup. White would also work, or even golden. Golden is cool. It's quite nice. Little piece. But I don't think we need it. I think that leaving it like this is enough. We are running out of time, so we are going to continue on with this in the next lesson. Thanks so much for watching, and I will be seeing you in a bit. Oh. 42. UV Mirroring Techniques on Piano Legs: Hello, welcome back everyone to UV mapping, boot camp, mass on wrapping and texturing in blender. In the last lesson, we set ourselves up with a nice little decor support for the piano top. And now we're going to continue on delving into the piano section itself. We still have some bit of parts, and I think we can just move on to the legs, honestly. I think it's going to be a nice and simple type of a setup. Let's go ahead and just grab it and see what we are dealing with here. So it is made out of multiple little chunks of geometry, which is fair enough. I think we're going to keep it as it is, actually, and just simply do a quick unwrap. Yeah. Sounds good. So what we're going to do now is we are going to use, I think, magic UV yeah, that sounds like a reasonable plan. Let's go ahead and just select this piece Philly Control plus to just grab it. We're going to separate it for now, and we're going to isolate it. So we're working with just one leg, like so, we're going to just work with multiple shapes at once. So I'm going to select this cubic setup and this cubic setup over here, just use SmartVPject, just identifying the shapes and whatnot. This part is fine. This part is not, and I'm trying to select it. So this part just needs to be split off. So is this part that way when we are well packing, we can get straight pieces like this. Awesome. So we can just put it off a little bit off to the side for now. Let's just make sure it's not grass. For some reason, I don't really like that. This part over here, it seems like we've not selected the entire piece, so I'm going to click Alt and H. Or go out of isolation mode and see what's happening over here. And yeah, I made a little bit of a mistake. I'm going to fix that. Just a quick selection, Control Plus, select it all, separate by selection, select these pieces, and I'm going to quickly fix that up. Luckily, none of the previous unwrapping we did made much of a difference. So now we have, well, two pieces. This is the mistake I did. That's okay. I'm going to just rejoin them using Control J, going into it, clicking and merge by distance with a very low vertic out this way, we have this as one piece again. No, nothing much, but it's still good to do. And now we can just go ahead and see what's going on. So we don't have a good selection over here. Very unfortunate for us. Can we make our lives a little bit easier? I believe we can. Well, we can go ahead and just select these little chunks over, so click Shift and H. Click seven, top down view, click Old Z and try to make a selection. This time we're going to use Lasso for sure because we're going to start our selection from here and then drag it all the way around until we get this radius, and we can use Spacepar to re select it. And just like that, we get this type of selection, which I think going to work quite well for us. Yep. That is good for us. I'm going to I don't like this. I'm going to just simply try to remove pieces from the middle. See how that goes. Just to make my life a little bit easier. I think that's a reasonable amount. Let's go ahead and just let it like so, and we cannot let it. So I'm going to click Control Z and just keep it as this. It's okay. We can go ahead and just simply use selection loops, boundary loops. We're getting something like this, Markem, and it's going to be okay, even if we have those little parts. The reason it's going to be okay is because, well, I'm just planning to use some black surface over here, so no little pattern, no pattern or anything like that. We can just simply do minimum stretch, and that's going to give us exactly what we need. With the point of just making sure that we are overlapping everything in one section, so going to give us a nice little setup. That's good. Let's go ahead and move on to the bottom pieces over here. So this part, we can just with a selection like that, I can just simply mark Sam and I will select it all, actually, based on normal select, click Shift and he and see what's going on upper and lower part. Seems reasonable. That seems so reasonable that we can just simply cut it in half. I think that's going to be enough. And I'm just going to cut it right down the middle like this because I know there is holding control that is. I know there is a nice little seam going all the way across like this, not even going to bower, trying to go by the edge because, well, there is no nice seam on edge, and just doing it like this is going to be right. I'm just going to merge by distance again. Real quick, see if everything is right. Seems right. Let's go ahead and unwrap minimum stretch. We get something like this. If you have something like this type of shape with, well, you know, subsurface, subdivisional surface that is, and you need to unwrap it, then it's going to be a lot of a hassle. Honestly, you might want to do it before the subdivision setup because right now we have some bit of issues, nothing too much, though, because holding Alt we can identify some edge loops. For example, these edge loops over here would allow us to well, make cuts like these, you know, and you'd want to maybe go all the way around like this. So it would just turn into more of a hassle. Again, for this particular part, we don't really need to do that. We can just simply do our wonderful setup and overlayment on this black, nice little square. Like, so just to get a bit of that resolution just like that. And finally, we got ourselves this shape over here, which is more wind in shape. If we have a shape like this, treat it as something organic like the mushroom. You know, you would just unwrap it like this, put some seams over here. And maybe this one over here at the top, and everything would be nicely unwrapped, just like that. Mark seam. Then you can just select a piece unwrap minimum stretch. Let's see. All seems good. We can now overlay it, make it smaller, and get really nice little bit of setup, just like that. Is this piece separate as well? Really? Okay. We can still wrap it using just a single seam. Fair enough. Wrap using minimum stretch to get something like this. Make it smaller, put it in, and there we go. Nice, solid, little pieces. These pieces over here, speaking of the pieces. Let's just snap them to a point, make them a little bit smaller and overlap them. Just like that, you got ourselves a very nice looking leg. Yep, that's looking good. Now, because I don't really want to redo this entire part, again, I'd like to just to reuse the same setup. So I believe this is going to be the same type of UVs setup as this identical. And I think I can just copy the UVs or we could just honestly replace the legs. Evo Boy would work fine. I'm just going to use Old set and make a selection using a box selection, just like that. Tro plus and it seems all right. Let's separate it and do the same thing on the other side as well. Folding shift, select it all, Control plus, P, separate by selection. There we go. All right. Let's see if it works. If it doesn't, we can just simply replace it. That's not going to be an issue. Copy UV map, go to this part, select it, and paste UV map. And did it work? Partially. So what is happening over here? Well, it seems like this part over here did not get unwrapped properly, which is very unfortunate. That means the easiest thing to do is just put it out of its misery, just delete the legs or before deleting that. Let's not do that just yet. Let's hide the piano out of the way and move the legs into their designated locations. If you want the exact placement, I could actually show you as well. I could show you the exact placement. It's totally fine. What you can do is you can select the upper section of the leg, make sure you are outside of the transparent mode, the X ray. You can select upper section, click Shift Z and select cursor to select it. And that way, when you go back to the object, you can right click Set origin to free cursor. What we're doing here is just resetting the origin points to be right placed in that section. And that way, we can do a little bit of a trickery. So we can select this piece over here. We can click cursor to select it, like so. Now it's going to be at the very top. We can now delete this part, select this part, click Shift D, so we make a duplicate just like that. And use a shifts selection to cursor, and it's going to place it in the right spot, assuming that you don't need to do any rotation or anything of that sort, but having a look at this, you don't need to do rotation. They are identical. So I'm going to do the same setup over here. So cursor to active, select this and do selection to cursor. Make sure you delete now the right one because I didn't click on the I'm going to hide this out of the way. Delete this, click Old Age. And I've got legs just like that. Beautiful work. Good job. Alrighty. So we still have some bit of a way to go. That's okay. Totally acceptable. We can work on this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 43. Piano Keys & Strings UV Placement: Hello. Hello and welcome back everyone to UV Mapping boot camp, Master and wrapping and texturing Blender. In the last lesson, we got this setup over here. Now let's go ahead and continue on with well, the texturing part, the UV well, tiling. Let's go ahead and work with the front part of this point, I'm going to hide this out of the way and see what we have over here. I'm going to click L just to see what type of thing we're working with. It's seemingly looking right. We can actually even try using Smart V Project, see what kind of tiles we're getting. And these tiles looking quite nice. So I think we are going to make use out of them. Let's go ahead and simply use though snapping to island. Yep. Let's put them in the position. And just like that, we got our selves nice texture. Next up, we got these keys over here. Before the keys, though, I'd like to put these also as smart project. Let's see if we're getting the right wood. We are. It's looking good. Now, the tiles. So we have a little bit of a tile setup over here. Which is actually just from the top of this piano, which is just going to be used for decorative purposes for the top of this section only. And honestly, we don't need a lot of detail when it comes to keys because we just need to figure out how much textured detail we are going for because it's somewhat of a brand new looking type of piano. We don't need to worry about, you know, any type of grunge masks and whatnot. For something like this, it's okay to just select the keys and and just, you know, unwrap them, place them in a nice spot, and it's going to be okay. Whilst I'm talking, I'm just thinking about this masterpiece of unwrap. What can I do to make my life easier? I'm just going to go ahead and make a selection like this. Hold Control plus, just tap on it all like this. And now we have the most selection that we can do. I'm going to click one, click Old Z and just Hold Control and just deselect this part, which will allow me to now click Control minus. And it's going to deselect any of the parts that had any deselection, basically. So control minus on here, and we got just the selection for the piano keys. Now we can use a beautiful Smart TV project like this, and this is what we're getting. Most of it is okay, except for these parts. What is happening over here? Well, let's figure out. I'm going to check and nothing, nothing. Nothing that seems too bad, to be honest. I don't know why that's the case. I'm just going to go ahead and select it all and just do a quick give unwrapping again, increased angle limit. See if that gives me a better result. And you know what? It seems to give me somewhat of a reasonable result, except for these parts. So these parts I wouldn't like because this is long and this is short. This would need to be completely different. What I'm going to do is I believe the reason for this weirdness is because, well, there are end goons, so we're going to go ahead and fix that. We're going to just select these piano keys. Click right click, click on Trangulate faces, and then quadragulate, stri quads, and then UV and wrap it again. Let's see if that fixed issue. I believe it did. Seems to have fixed this issue. That's quite nice. I'm going to make sure we average island size and unwrap it on one spot just like that. And now the up part would be figuring out where to place the keys. So we can even maybe put it on here if we wanted some extra detail out of the keys, but honestly, not really. We can also make use out of some empty spaces from the piano, for example, like this. We're going to get a nice little look. I think that's going to be perfect for a nice plain type of a setup yeah, that's definitely going to be quite nicely set up. We just need to grab those black keys. And to do that, to make my life easier, again, I'm going to click one. Going to click Shift in H like this and then just select the upper part. Like so. So only a bit of the upper sections are selected. Now, click Control plus until you get all of those keys just like that, and we can move these to a black part to get something like this, which I think looks pretty cool. So now we are left with this base over here. Let's make sure we don't forget this part, which we can just use Smart We project, and that's not right. What's happening over here? I'm going to click Shift and H and see that hu This is also part of the top and bottom. I don't want this to be the case. I only want the bottom, actually, so I'm going to go ahead and select only the bottom, which is going to be this part of here. Like so. Now, only the bottom is selected. I'm just checking as well, shift in Only the bottom is selected, and just place it actually over here where the wood is. It wouldn't be exactly painted or anything. The bottom piece wouldn't exactly always be painted. Sometimes it would. So we can just do entire piece. But, you know, just to have a bit of variation. I think it's okay to have it like so. And the upper part, though, let's work with that. So let's go click Alton H in Edit mode. Select this piece. Which is part of our automatic Van wrap and reposition it to be placed nicely in the section over here. So just like that. If you want a little bit more control over this, you can have that. So if I was just to align the bottom pieces a little bit like so to the base. Now I can just grab, for example, this upper pieces. I'm going to make sure that this UV sink is turned off. Otherwise, it would allow me to select multiple pieces, which I wouldn't I'm going to select it like so. Then there is a nice little option for proportional editing. So this will allow me to move a lot of the parts and use mouse wheel to change how much of the proportional editing is being affected. This way, I can just stretch it out just a little bit like so onto this side. I can stretch it out a little bit off onto this side. And just like that, I can realign my texture. To look a little bit, you know, fitting for the setup. I think that's looking much, much better. So now we have this part done. I'm not worried about the edges, which are, I believe, over here, if I was to go back onto UVSk so these parts of here are going to be well, on the inside, so I can just make it smaller. I'm going to turn off the proportional editing because it would when we get close, it would mess me up. So I'm just going to place these somewhere on the side because again, we're not going to really see that. Now, let's go ahead and sort out some stuff with the pieces over here. To make my life easier, I'm just going to select all of the pieces within zero to one space. Click H, and now we know what exactly is left. And these pieces can be also part of the piano now. But I'll just hide the legs for now, actually, yeah, aside the legs. So we know exactly what we're working with. This is what we're working with. And to make my life a little easier, I'm going to go to the top down view and select the strings. So let's see how well we can do that. And not going to worry about what's at the bottom, going to make sure that I'm selecting parts that are a little bit higher up. Like, so like so. And just like that, we're going to get ourselves a nice little look, clicking one Old Z Olding Control, deselecting this part, only the strings. We can click G to see if that's only the strings. We can click Control plus multiple times, so to see that, this is only the strings. And, uh huh, I might have made a mistake. No, that's not a mistake, actually. I might have just made a duplicate out of this, which is fair enough. To fix that, I'm going to just do Quick SmartTV project. Put it off to the side, click H, and now delete the strings that were a duplicate for some reason. Like this. And like this. All right. So now these parts can be deleted. I'm not sure why they were over here, to be honest. Just checking. They seem to be right now. We can move this to a golden part. Little golden strings will look really nicely. Yeah, they look really nice. Nice. Awesome stuff. We now can continue on with the rest of the piano piece. Again, just selecting everything in zero to one U V space, clicking H, and seeing the rest of the pieces. And to make my life easier and your lives as well, we're going to select this piece, and these actually over here, I see a couple of extra strings from the duplication. Going to go ahead and just let them off. Like so. Going back to these pieces, let's just select them all. They're nicely squarish. We can just use automatic UV unwrap. Yeah, that's going to be quite right. Let's go ahead and do that. Do do do do. And now we can use step to point and move them. On two. Maybe the redwood, maybe the gray marble. Let me have a look. Yeah, that doesn't look quite as nice. So I'm going to move it. I'm going to also actually move it outside of the 021 UV space and click Alt H. That way, I can select those piano pieces, the frame when we unhide the piano entirely and just move it to the part where I think it would look a little better. So maybe over here. I don't like the way this looks, so I will just move it to 22, two, two, two to the black pieces, probably. If so, Yeah, that looks quite alright. I think that's okay. But it could be better. I think Yeah, the white piece looked quite nice. All right. So this part is also forgotten, so let's make sure we unwrap it. The inside of this piano is definitely shaping up. We unwrapped the strings. We unwrapped all this frame setup, and we are left with smaller and smaller pieces, which is nice. But let's start thinking about these holes over here. And I think I'm going to select it so Li Control Plus and just do SmartTV projection with a maximum angle. Even if those are broken down, I think it's going to be quite alright if we place them in this black spot over here. This way, they're going to look like this, which I think is quite acceptable. Yeah. This part over here can be different look, can be bronze or gold. Let's have a look. Yeah, this is looking real nice. And This piece over here needs to be fixed up. Let's go ahead and do that. We're just going to select all of these little planks in the front and unwrap it using Smart TV projection. And this part can just be red wood. Like so. No, not redwood. Definitely, no red wood I didn't like the way it looked. There we go, much, much better. The only pieces that are left will probably be the little pieces over on the front. Yep, all of these little front pieces. And this part over here, what is this? This is like so. I think I want this to be actually marble. So I am going to use Smart TV projection and just place it in the marble part. Like, so No, that's not looking quite as nice. The wood part will look much better. Unfortunately, I say unfortunately because we now have to make sure that this is well following the proper curve. So we will have to work with this a little bit. Let's make sure we have a proper selection. If I was just to select based on the normal shift in age, seeing what is set for us. So these pieces over here. Okay. Let's use unwrap conformal not going to work quite as well, of course, but we can just select the piece over here, use follow active quads, average length, and there we go. Nice little piece for the grain of the wood. Yep, looking quite nicely. I think I'm also going to click S Y, sorry, SX just to get a bit more grain out of this. There we go. So it's going to look like a pin or wood, and that's looking much better. All right. So next up is going to be let's see, Let's see these letter parts over here. So for catus, I'm just going to go ahead and just select all that's not these parts. And like so, like, se like so. So click Control plus a few times until everything gets selected and move this downwards. Now we're left with these tiny little knobs, which we can just select the mold. Just like that, use our Smart TV project and use Shift N don't worry about the amount. That's okay. Acceptable for atlas. Nothing to worry about because we can just overlap them and put them in at this black little spot to get black little knobs, which I think could look better with bronze. Yeah, definitely. I definitely look better with the bronze medal. Okay, so we're still left with the last final piece for the base. We're going to continue though with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. O. 44. Final UV Unwrap for Piano Components: Hello and welcome back, everyone to UV mapping boot camp, mass and wrapping and texturing in Blender. In the last lesson, we are almost finalized with the setup for this piano. We're going to finalize it by, well, getting these pieces out of the way and moving on to the next stage, finally, let's go ahead and grab these parts that we have over here, making sure that everything is selected, which they are going to identify these little screws over here. And where are they actually? Leave they are already placed. Yeah, they are already placed, so that's good for us, okay. Just making sure that we not missing anything. Everything else is selected, going to hit shift in H, just to hide everything out of the way. Make all lives easier. Then let's identify some of the shapes. Well, forzadas, these parts at the top are squares. I'm just going to click L whilst the limiter is set to normal, just to make sure we see what the shapes are. And yeah, they are just simple squares with bevels, so let's go ahead and unwrap it. Smart we project with maximum delimiter for an angle, and let's see what we're getting. Well, most of it is right. Yeah, I like most of it, except for these parts on the very end because of, well, these soft curves, they're going to try to unwrap some of them like this or yeah, also because this is just straight edge of here. So what I'm going to do is I'm going to select all of these parts, so just like that. And yeah, here in the middle, for example, I go ahead and just select these parts over here. On the side, I try to select the tiny bevels, as well, so no small islands are going to be left behind. And now we can just rotate it like so, and we can see if it would work well. I was thinking about setting it up as bronze, and I think that will be best. Whether bronze or wood, he away. They would both work in this particular case. Let's go ahead and just pack it up real quick, pack up the islands. We don't need to rotate it. Actually, we rotated it ourselves, and let's just put it over here. It's a nice big chunk of setup, see how it looks like. I think it looks quite right. Yep. Looks quite alright. These two bits, though, I think, should be definitely different color because they're more like supporting legs type of setups. So having it either red or black, although this part is a little bit smaller. So if I was to consider the piano as a main piece, I would probably make the black section a little bit larger. But if the environment was using a lot more props and whatnot and we had other pieces and what not, that would have been totally okay. Also because it's underneath the piano. It's not a primary focus of this entire prop, so that's right. This part can also be I think it can also be black. I think it's going to be quite right. Let's go ahead and actually let's have a look. I'm just going to move it out of the way a little bit. Let's see what we are working with. And this piece, I would like to unwrap it manually. The reason being is that it has such curve setups that I know that automatically V unwrap is not going to be able to unwrap in the right kind of way that I want. So I'm just going to do it myself. And what I'm essentially doing right now is separating this upper section and this upper section as well, like sort of pancakes. And then we're left with sides here, this side over here, and this side over the side. And that will be it. The part in here, we can just select it like so. We can Control Plus, and that's going to give us this type of selection, which we can use MRTVPject to unwrap it manually and put it in the black spot like so. And this rest of the piece, actually just realized that this part doesn't go all the way around. So to fix that, we are just going to select it like so and mark Sam just like that. This part over here can also be just using Control plus, selecting it all, SmartTV project, and just placing it over here. Just like that. Now this part over here, well, let's sort out the bottom part, actually. Going to select this middle line because I don't want to go for its entire selection like I did with the upper section. It will work in the same way. And also, we can even lower this down because it will be less visible as ACM. Nice little practice to have. Let's go ahead and click on Mark SM. And this time we're going to go ahead and just click L, Doliory UVs, which doesn't seem to want to work. Why is that? Is it missing? No, it's not. Oh, sorry, it's not delimior Vs. It's limit SMs. There we go. And we can just click on the upper sections over here as well, unwrap and use a minimum stretch, just like that and put it in our little corner chess like so now we could actually leave it as that. That actually looks pretty cool. Having metal parts broken up like that. If you'd like to, feel free to leave it as is. And you know what? I will also leave this as is, as well. That being said, though, we do need to do a little bit of unwrapping here. So what's the easiest way to unwrap this entire piece? Well, I reckon we can go ahead and select this, hit shift in H to deselect everything. Click seven, and then use our olds to make it transparent, use our lasso, and then select the pieces like so just a quick, sneaky little way of selection. That way, we're getting the front and the back. We can move this outwards, like so and have the selection with the selection. We can hit wrap minimum stretch, which is going to give us this type of piece. The parts over here are a little bit I'm not too keen about them being just unfolded like that, so going to go and use conformal, just like that way better. And I am going to put it over here. And these pieces, because they're just size, we can use the same method, conformal unwrap and make them quite a bit smaller, just like that. And yeah, that would be the black piece. Although, in this case, I want to select them all because I really like that previous setup, so I'm going to go ahead and just move this to the bronze section, like so, and now if we were to click Alton H, we're going to see it. Well, that's a bronze typo section, which I think is looking really, really nice. What else are we missing? Well, we're missing few pins. For sats, these little tongues over here. Which, if we have a look at it by liking Shift and H, they don't have the back pieces. All we need to do is just unfold them as flat pieces. So I'm just going to hold Shift and old and set up mark Sims. Oh wrong wrong button. Mark Sims, there we go. Now we can go ahead and just make a selection, unwrap and use Do do do do do minimum stretch. Yeah, seems about right. Let's go ahead and put them as gold pieces. I think that would be. Pretty nice, actually, yeah. They're like, a little bit of gold coated to make them stand out. It's pretty cool. And something else was missing, actually, I believe. There we go, this little piece. So what is this? Ah ha. So this is the main back setup, which is, you know, fair enough, fair enough. So I think these are squarish enough to be well unwrapped using automatic van wrapper. If I was just click called the Z because CF remote doesn't give us a lot of control over the well, selection individually because we can select past objects, and we don't always want this to happen. All right, so let's go ahead and do a quick unwrap. Let's put them in somewhere either bronze or even a stone if you want. That would look kind of cool. But not cool enough, I don't think. Wood. Wood is also not really. Yeah, I think I'll just leave it as bronze. Or actually, I'll put it as a black piece. Yeah. That will look much better. This part on our hand is two parts, so just like the upper section on the top. So I will probably do the same thing where I'll set it up as white, and then these parts, I'll set it up as bronze. Yeah, that sounds about right. So let's see if we can select it based on normal. These parts are actually. We're going to just isolate them and work our way outwards. So let's go ahead and just simply make a selection with a transparent mode, just like that. Make a little bit of additional selection. Unwrap Smart project. That's going to be good enough for these little pieces. We can put them in the bronze section, just like that. We could make, you know, a bit of additional work with the whole like we did previously. But it's such a small piece. I don't think it's worth it. Yeah, sometimes it might as well just leave it. Especially it's underneath piano and everything. It's all good. So that's that. Yeah, that looks quite alright. Except the bolts now are not standing out, so I'm just going to need to fix that in a bit, though. Let's go ahead and just select these parts over, like, so Mark seem if it wishes to mark Sam, there we go. Now we can hopefully unwrap the minimum stretch. I've not. Oh, okay. So what happened here, I realized before doing that, I'm going to click Control set and do it. And there are parts, at the top or bottom that we are going to need to clean up real quick. So let's go ahead and do that. Selecting the upper section, the top section as well. Clicking lead faces. And now, finally, finally, finally, we can hopefully select it Mark Sims exist, and we can click U and minimum stretch, and something that's not wanting to let it go. So what is happening? I'll do one by one, a uniform conformal, and that's the upper one that's not wanting to let go. And I don't know why. Let's see. The bottom one. The bottom one is fine. We can just put it up as, as a gray type of marble. What's happening with the upper one? Well, let's go ahead and see. We're going to select it as UVs, lick, shift H to hide it and see. The upper section is fine. It's just a cylinder. So what's happening? Well, uh huh. That's a culprit. We didn't go all the way through because there was a little knob over here, which, to be fair, could be also part of well bronze section. Let's see how it looks like, though. If we were to unwrap it using conform. So unwrap is it's not the best. It's not the worst ever. I'm going to do minimum stretch and see how that come up. That comes up way worse. So let's keep it as this. And yeah, I think I'll just separate this little piece over here. So I'll just go ahead and grab the entire piece, actually, and just use a minimum stretch, and there we go. We're going to get more resolution out that way. And then we can just put it wherever we want. But it's a little piece, which I believe should be over here. Yep. All right. Let's see how it looks like Aldinge. And that is our piece, except for the bolts. Let's not forget the bolts because these bolts are going to look the same, too much the same. So let's go ahead and put it on a black spot, like we did, I believe, for the upper section over here. Yep. So same consistency, and that's it. I'm going to click Alt and H to check what we are missing, and I just realize we are missing this piece over here. So let's go ahead and place it up on just the back. So I'm going to click seven, move this a little bit to the back, like so, and even more, actually. Just like that. I that's quite right. Or let's go ahead and use local and Gizmo, and now we can just manually attach it like this. We can imagine that something is sticking to the back. And actually, looking at this, it seems like the back is even missing. So what are we going to do with this? Well, we could leave it as this, actually, or we could replace the back. I think replacing the bag is okay. So I'll go ahead and do that. I'll just go ahead and select the back, click AltnF and it should. I should place it nicely for me. Like so. Alright, very nice. So now we just have, well, set it up for this little piece, which is going to be quite simple because it's just a couple of planes. We can use automatic smart UV project and put it in the note section. The notes section, though, needs to be a little bit more carefully placed because we have well the placement of this needs to be matching up a little bit more. So what we're going to do is we're going to grab these individual faces and just scale them to the right proportions, and now I'm going to click SX and just scale them out like this. And the reason for this is because we want to match them a little bit more. And I just realized this needs to be flipped. There we go. Now, the up side can be quite similar. I'm going to unwrap conformal. The reason being is that it wasn't quite matching just a simple square. And I'm going to place it over like this and like this. Now, it is just one page, and it's just repeated, like so we could leave it as this. And yeah, you know what? It works quite well. It is opposite, though. It is flipped, if you have a look at it, so we will need to flip it as well, like that. And, you know, from a distance, it's going to look quite nicely. The backside can be actually quite a bit more interesting. So I can click Control plus, select these little pieces and move them you know where? We can move them to this black spot here. This way, it's going to look like a cover just like that. And I think it looks very cool. And finally, we are done with the piano. We can check the little pieces and even, you know, make a selection like this, hold control to deselect the upper pieces to just have the piano, select the piano, click Control J, and now we have it as one object. And if you want to take this a step further and you're planning to do some experimentation with, well, texturing and whatnot. You can just go ahead and select all of these pieces, use average islands as we did before and pack islands afterwards. And that will pack everything you want out of these UVs into just 10 to one UV pase, which you can take it to substance bana to make out ambient occlusion and do some additional texturing. But we're going to have some really nice work because everything is going to be set out for, you know, all this direction of wood, for example, it would still be kept with you and you wouldn't need to worry about any of that stuff. So, yeah, that is pretty much it in regards to this zero to one UV space, the Atlas setup. Thank you so much for watching, and I will be seeing you in a bit. 45. Clothing Based UVs for Legs & Lower Body: Hello and welcome back around to UV mapping, boot camp, mass and wrapping, and texturing and blender. Now, we're going to start off with human unwrapping. And this is quite an interesting one because it is something that at some point, everyone has to unwrap, I think, because it teaches you how to well visualize some of the unwrapping parts. And just in general, if you ever do some more of organic creatures and whatnot, by just doing the human, you're able to take it halfway there. You know, if it has limbs, you'll be able to unwrap the limbs and whatnot, the head. If it's more like a human shape, it can also be unwrapped in that kind of way. So first things first, what I like to tell you is, in case you're wondering, sometimes you can visualize some of the parts, how we did primitive parts. In which case, for example, the limbs, you can visualize them being more like, well, cylinders, something like that. And this kind of visualization helps sometimes well with some body parts, like, you know, legs, arms and whatnot, in some cases, even well fingers. If you're doing some close up shots, you'd have cylinders as individual fingers. But in most cases, that's not how it goes. You'd better it would be easier to just visualize person, a human wrapping as some sort of a clothing. So previously, we talked a little bit about how, you know, a latex sheet is great for organic setups. In this case, it's kind of similar except you'd have to think about how it would be stitched around a person. And for that, you could, for example, visualize how the legs would be as pants, as trousers. And I think that would be the best spot to start off with our human. And as always, when it comes to more complex shapes, I prefer to just start off with unwrapping with a project from view, simply because it helps me to visualize what the hell is going on, and then we can put it off to the side, and then it can remind me and you guys as well, whenever we're missing some parts that needed to be unwrapped. So when it comes to the geometry of this setup, it's best off to visualize it as trousers, and we can start off with that to get an edge loop as low as we can next to the feet. So, for example, I'm going to hold Alt and just select it over here. I was thinking about holding putting it lower, but then I realized this is not exactly going to give us that edge loop. And although we could manually select this part over here would give us, well, just a bit of a sharper seam. So it makes it easier for me to select this part, as well as it makes it easier to not see the seams because it just gives a nice clean cut when we have well textures and stuff. So that's why we can just go ahead and just select both these parts, mark seam and there you go. We go ourselves the bottom part. Now, as for the upper part, can go ahead and hold Alt and just select in a little bit higher up, be honest, over here, right underneath the belly button. That's quite a nice section. We can unwrap it over here. And this particular part, I'm just showing one way of doing it. I've seen plenty of people who do it over by this part over here. So perhaps they would unwrap it in this section, something like so, and maybe like this. More like this. In this case, the edge loops here are not really supporting this kind of a flow for Taurus. And secondly, we don't exactly need to do it. But if we were to do it like this, we'd be essentially unwrapping each one of those legs as individual cylinders, and then we'd get ourselves a nice edge loop going across like this. And we'd be able to, well, essentially create a cylinder unwrap and that would be, you know, still fine. That would be totally acceptable. In this case, however, I'd prefer to do it over here. So I'm going to mark seam mainly because, well, it makes our lives a little bit easier, as well as we are doing it slightly differently when it comes to visualization in this particular case, that is. And you can visualize trousers and how the seams are. And the way they usually set that up is they have seams on both sides. So front and the top Sorry, the inside and outside, and they just end up unfolding that. So right now, I'm just seeing where the upper section is and holding control. I'm going to select the bottom section right in the center piece, and then I'm going to mark Sam just like that, going to the same part on the upper end, as well. I'm just going to select holtingOlt, select part like this, visualize where it is for the upper section and the lower section, and mark C. And in certain cases, you can make use out of the symmetry part for these kind of parts. So if you were to click on, I believe, it's X or Y, is it Y? Yep. So if you were to select it, you can with the X selection, you can click Mark Sim, and it's not going to do it. If we go to options, turn on topology mirror, and this is mirroring. Marksem just doesn't want to work. So I'll show you my preference when it comes to well, symmetry in the bit though, not right away. Usually, I'll just give it away right away. I just delete one side of the body. If I were to have ox selection, I delete one side of the body, then mirror it to the other side, and that's how I get my UBN wrap, a nice little feature. Anyways, going back to legs, let's go ahead and simply make a seam like this. So this is an ice seam going right in the middle, and I'm going to click Olds to make the mesh transparent and deselect the bottom part just like this. So it only goes up to the SM parts. And that way, if we mark SM, we can click L to use Linked based on UVs. So not UVs, SMs. There we go. Select the back, the front, and we've got ourselves nice unwrap. And we can either use conformal or minimum stretch depending on what it gives us, and this gives us way too much. So conformal will also give us quite a bad setup. Let's click on Angle base, and there we go. Angle base is the way to go I'm going to go ahead and just rotate it, like so. And yeah, that's pretty much it. If we want to be, you know, more pactful or whatnot, we could technically select everything up to the half point, like so. And just have basically two sides. So it would be split into four pieces. I've seen some people doing that as well. And that way, it's easier to, you know, pack up the items. So that is totally valid and completely reasonable given how the unwrap looks like. The other way that I saw some people do was select one section, if I was just to select this part over here. No, there we go. If I was to select one edge like this using lt, I can click SX and zero, and then we can click P to pin this down. And I just realized Oops, I made a big mistake. That was quite a big mistake. Let me go ahead and select this and use U V sync the selection. So I can show you properly by selecting these edges over. Holding, tapping on one on the other, clicking SN zero like this, clicking P to pin it down, and doing the same on the other side as well. SX Zero, clicking P to pin it down. And now, what's going to happen is if we select this and unwrap it using minimum stretch, it's going to try to well, put everything in a nice little place. Like so the only downside, though is that right now these pieces are a little bit too stretched out. If we have a look at this by changing to our created checkerboard to visualize and we can see what is happening. So these parts over here, are a little bit squished up. So in this case, what I will do is I will select my pinned sections, and I will just drag it a little bit backwards to this amount. I think that's right. Then redo the stretching and there we go more squarish. So that's, you know, a little bit more reasonable, although at the bottom, we're getting a little bit more of stretches and whatnot. As it is trying to warp itself. But by playing around with iterations, we might be able to get away with this a little more. I think something like this is totally reasonable. So yeah, I just want to show this process on one side, not going to bow the other side. I think it's totally okay to have it as this, especially since we're going to have smaller pieces. And before doing that, though, let's go ahead and do the same thing for arms. Although we can continue on with this in the next lesson, so thank you so much for watching, and I will be seeing you in a bit. 46. Minimum Stretch UVs for Arms & Feet: Hello and welcome back everyone to UV Mapping boot camp, mass and wrapping, and texturing blender. And the last lesson, we left ourselves off with this nice little trouser and wrap over like so, which is looking pretty good. Now we're going to continue on with arms, actually, because I think it's the next easiest thing to do. And the way we're going to do it is basically we're going to split off the shapes from the hands, and arm pieces are going to be unwrapped separately. So in this case, unfortunately, this human does not have nice edge loops. And what I mean by that is usually it would go like, on the shoulder over here, and that would be a much more preferable type of solution. Though in this case, we will have to do it manually. So yeah, this part over here is not happy with our selection. So what can we do? Well, we can just manually selected or, you know what we are going to keep it as over here. In this particular case, it is okay. We can keep it as this. But again, usually, there would be more of an edge loop over here or in places where I'm trying to work characters. Or alternatively, we could potentially use bisect to make a cut over here like this. So this is the type of cut I'm talking about. That is what you would create. In this case, though, it's fine to not have that and just have the closest edge loop that goes around the arm. That is totally acceptable. So let's go ahead and do that. And yeah, that will be okay because we are going to unwrap the main body as some sort of a shirt, actually. And you'll see in a moment how. So that's why, although I don't personally like this edge loop over here, it's, so low, but all all is good. Honestly, all is good. I'm just checking if it's I have not made an edge loop over here for some reason, so I'm just going to go ahead and do that, like so, and I believe it was this one over here. Yep. And like so. And now when it comes to marking Seams on this part, what I tend to do is I just select it based on SM both of these parts, like so, clicking shift and he, and now I can make mark SM going on the inside of the arm. That way, it is as well hidden as it can be. It doesn't need to be an exact location, but just underneath the arm like this. And we can now select it and use the minimum stretch, which is really good for organic setups, just like that. I think that's right. We got to sell some nice little squares, and now we're going to move on to the body. So in terms of the body and the head, the head will need to be definitely split off. So we can just put it somewhere over here on the neck or lower end of the neck. And Mark Seam. And just like that, we got ourselves, well, this nice little t shirt. There we go. That's what we're having right now. I'm going to go on to the face selection and see what we're having over here on the side. Go to click Shift and H, and that way, we can unwrap it. Don't worry about eyes. Eyes are usually left as separate meshes, like se. And when unwrapping, that's, you know, totally acceptable. It is what it is, although it's creepy when it has eyes like that. So for this part, I just create seems on sides, just like a T shirt would be, making sure that we are basically hiding those kind of parts just like that. Even if it's just a human skin and whatnot, it's best to have pieces like that. Seems like that to be on the side of the human, not like the front or anything that would be more of a visible area and more noticeable, therefore, let's go ahead and do minimum stretch, and that's the body parts. There we go. And we can now move on to the feet, I think the feet is the next great chapter in our unwrapping for this person, for this human. Let's go ahead and click Shift and H and see what we're working with. And this floor is getting in my way. So I will just raise this entire human a little bit higher up like this, or even click on the dash to isolate it. So dash isolates everything except for the selection. It's a different piece than in comparison to hiding it. So now we have part that's isolated and hidden. The entire scene is isolated, except for the human. And when we go on to edit mode, everything is hidden except for the feet, so it gives us this nice isolated view. Oh, okay, so when it comes to the feet, it's kind of visualizing like shoes. Usually, no one I've never seen anyone unwrapping individual fingers off the feet like this, like small cylinders, even if they can be done, like that. So usually what people do is they just end up grabbing or trying to grab an edge loop that goes all the way around. And in this case, it's not working for us. So what can we do? Well, we can grab an edge loop that's closest to this. And I think that's reasonable except for this part over here. I'm going to go ahead and just deselect all of this part, like so, like so, like so, and do selection over here, or even or even even no, I think that's right. So now I can just with this selection, I can click Control over here, and that will try to at the very least, Oh, my goodness, it's so bad. Let's go ahead and redo it again. So holding Control, I will try to guide it a little bit better. It goes across the middle section of this finger, and I do not like it. So I'll just up it up a little bit, so it will be just one sharp turn over here, which is it is what it is. If if we have that, we might try to move it over here, in some cases, on the inside of the foot. But because of such a clean edge flow on everywhere else, except for this, I think it is acceptable. So I'll just go ahead and continue on with this setup and then I'll just go ahead and select the last piece just like that. And we have ourselves put seems. So let's go ahead and select it. That's what we have. We can go ahead and unwrap it, minimum stretch, and this is the type of stuff we are having. So we can maybe do conformal, which is reasonable in terms of, you know, keeping the squares the same the same and whatnot. Honestly, though, using minimum stretch as well is totally viable if we're doing something like triplaina projection, if we're having, like, manual brushes, brush strokes on a well substance painter, or if we're just having neutral noise, it's totally acceptable to have it like this. In cases where we have, you know, more directional noise, maybe there's, like, streaks of dirt or something that well, visually, you're trying to tell a story. So this would be more ideal. But even with this, you know, there's not much of distortion, so it is reasonable to keep it so. And as for this foot, it is it is what it is. And we're having something like this. And now we just need to well unwrap it. So we can honestly unwrap it as minimum stretch, and it would give us this type of abomination, which is kind of reasonable, to be honest. Alternatively, we can split off, well, half of this foot. I'm going to hit Shift inH and just split off like this in these areas and, like, for the heel way the cylinder is not going to disturb the overall flow, and we're not going to have some wave stretchiness over here. So that is one way of doing it. Like so, like so, and we can just unwrap it minimum stretch. And this would be reasonable. Perfectly fine. Yep. So we have one leg. I'm not going to power with the other leg, because I will show you how to do symmetry from one side to another. Not at the moment, though, because we still have this arm to work with. So you know what? We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 47. UV Mirroring & Finger Unwrap Workflow: Hello. Welcome back around to UV mapping, boot camp, master wrapping and texturing in Blender. In the last lesson, we left ourselves off with nicely unwrapped feet, and the body part, now we're going to move on to our arms. So I'm going to go on to Edit mode, hit Alt and and start working with this little piece. Let's go ahead and hit Shift and So we only have arms, sorry, no arms, hands to work with. And let me tell you, before doing anything, sometimes, in some cases, you want extreme close ups of hands, more like cinematic and whatnot. In those cases, you would unwrap each finger as a cylinder like so. And, you know, you would have all the marks just like that and then maybe have some seams like this or something of that sort, just to make sure that you'd get all the necessary textures. And that would be fair enough. You know, if you need more texture, detail, and whatnot, put it on like a four game map, use UDIMs, stuff like that. All fair enough. In this case, though, if you're working for, like, a game or something of that sort, you would want to just make sure you're well, set up, just pass nice edge loop. So I think this one is the most reasonable one. And it's still not reasonable enough. So I'm just trying to figure out what kind of edge loop we can get out of this. And I think, I think, I think, I think, this is the most reasonable amount, most reasonable base setup, at least. We can then go ahead and just use lb Z and just remove some of the parts from the fingers, like so just like that. This way, we can do manual selection because it should never go over the nails. It would look very, very odd. So this is reasonable. Once we get to this part, we can just lower this down and maybe over here. Now holding control, I can just re select this part. And holding Shift, I just de selected this part. So we have this kind of a loop, not ideal, not perfect, perhaps. But if you're working with subdivisions and whatnot, this type of subdividable service actually is going to give you quite a lot of detail. And that would be a fair excuse to use this kind of well, topology. If you want to subdivide the surfaces and whatnot. So yeah, we're just retouching the fingers, making sure that nails don't have any of the wide selections because otherwise it wouldn't look quite as nice. So we have selection like this. Let's just make sure we hold shift and just tap on this. Then holding control, we can just go to the very end of the hand just like that. And I think that will be done, except this part over here is also needing our assistance. So let's go ahead and just do it real quick. So I really whenever I'm trying to work on these kind of setups, I really am trying to avoid these sharp turns, and in some cases, you can avoid it. In other cases, you can if I was just to make sure I save my previous progress, you can create some additional lines. So for example, if I was to select like this, I can click J, and that would maybe create a nice line to follow so it wouldn't be a sharp but the thing is, you can sometimes do it if it's a subdividable type of a surface, meaning that if you are planning to add a subdivision, like so, you know, to add additional detail or something of the sort, you would not want to have that because in here, I'm not sure if it's shown properly. Maybe if showed like this, you would see a little bit some of the artifacts, to be honest. So that's why it's better not to have those kind of edges like so and just small little advice. Really is depending on what you use this model for. You need to figure out if it's just like the mesh is preexisting or if you're trying to use it for subdivisional surfaces, for, you know, cinematic cases and whatnot. All of that will come into play when you're setting all of this stuff up. So this part over here, what hell is going on here? That is not correct. There we go. A little bit better. Again, sharp edge, but it's fine. It's fine. Let's go ahead and select it, and let's click and minimum stretch, and there we go. We got some wiggly fingers, which, you know, might not be ideal. But we could also use conformal, and that's also not ideal because it's a little bit of too big of a middle finger. We don't want this so angle based. Okay, that's probably the best. It stretches out all the arms like this, which is fair enough. It gives us the most reasonable result and not weirdly unpacked at all, and we're going to get ourselves basis of the setup. Now, let's talk a little bit about the body itself. So we got all the body parts and everything except for the head, which, honestly, we're going to leave it as it is for now because we want to have some arms over here and some PT over here done as well. So let's talk about how one could do that once we have everything already wrap. So what we could do is we could click on L. We could just separate the set. So clicking P selection, the set is now separate. Ooh floating. So we can now just hide it out of the way. We have just a body. And now the body can be split. So we could, firstly, the easiest way or one of the ways that could be done is just to make sure we have a selection that goes right down the center just like that. So right now, it has a nice little symmetry, so it's able to go right down the center. And you could delete this part and then just mirror it to the side, the upper side. But we already have this body unwrapped. We already have those trousers unwrapped, those legs. So we don't want this entire part to be just, you know, unwrapped again or these UVs to be mirrored. So we just want the legs and arms. And for that reason, because this is a symmetrical piece, what we can do is we can click L. We can delete the feet, like so we can go to the outside, and first starts, we're just going to make sure that we are matching where the UV Sam is, which I think is matching, and then we're going to delete it. So then what we're going to do is we're going to select both the feed and arms, I'm making sure that I'm selecting all the pieces, so the whole selection of the foot on arms. The next thing would be to make sure we have the symmetry in the right spot. So what I can do is I can do do D D D. So the origin point to notice that is already centered, you could you just select the piece in the middle. You could use Shiftins cursor to select it, and then you could right click when in object mode, set origin to free the cursor, and that would be centering your position. So that could be, you know, how you do it for a setup. Now though, I have this little origin point, so I think I'm going to make use out of that, which is, fair enough. Although because I click Control Z because I already did it, the freecursors over here, even is fine. So once we have the precursor, we can just change the transform Piper point to B freecursor and then we can just click Shift and D, Escape, and then it duplicates these parts. We can then click S Y minus one. Nope a X minus one. There we go, and it's going to flip it to the other side. Now we have a nice little setup. Except this part over here, it turns out there were some bases that were missing. It's okay. We can fix it. All is good. For now, though, I do know for sure that these parts are going to have flipped normals because we just flipped it around. So I'm going to hit shifting end before leaving the connection to have it like so. Up for most of the parts if we're doing it like so, we can just simply select the entire piece, use M to merge by distance, and then with a very small value, we're going to reattach the parts. So now, it's reattached, as you can see, like so. And I just realized I have mirroring still turned on, so I'm just making sure I turned it off. And now, basically, these leg parts and everything, we have duplicates of them. So these parts over here, are separate. This part is the same in the same area, but they have two separate pieces. That's how you can duplicate the UV shells without the need of just reworking it. This part, however, let's go ahead and just select both of the edge loops using Alt and Shift and clicking F and Alter F. There we go. Beautify, ah. Now let's go ahead and go on to face selection, right click and tries to quads. There we go. Lovely setup. Now I'm going to go ahead and just remove this seam, clear seam, and then make sure that, how, whoa, whoa, whoa, that's not right. That's not right. Good thing we checked it because it seems like this piece just didn't want to attach itself. There we go. Much, much better. This piece is still being a little bit odd, and it's just misbehaving a little bit. Yeah. We'll go ahead and just use C to make selection like this. So at this point, it is more like topology cleaning rather than just unwrapping, which is fair enough. It's fair enough. It's a nuisance, but I think it's worth to show that. And in this part, I will mark the same over likes. Wrap this part specifically. So minimum stretch to just get line like this. Then we can select this line over here, which is going to select the, you know, line that we just created, as well as a part that would be part of this over here. So that's what we're selecting. Now we're going to right click and stitch, stitch stitch, there we go. And you know what, we are going to unwrap it again. So minimum stretch, there we go. Nice little setup. A quick fix, not so quick, but reasonably quick. And we got ourselves the UV UV checkers back. We can now go on to a mesh, click Alt and H, and we still have this head over here. So let's make sure we combine it. So let's go ahead and join the body and the head and use selection all merged by distance, and there you go. At the bottom we see removed 42 vertss, meaning that this part is now part of the same mesh, and we are left with just the head. So let's go ahead and continue on with this in the next lesson. Thanks so much for watching, and I will be seeing you in a bit. 48. Optimized UVs for Head, Nose & Ears: Hello, and welcome back everyone to another exciting UV mapping boot camp master and wrapping and texturing and blender. In the last lesson, we left ourselves off with a bunch of UV shells, which we're now going to continue on adding on top of it with this head over here. So how do we wrap this head? Because it is a unique type of a shape, and you might be wondering, you know, how would one do it? Well, for SRS, we would get rid of anything that would go in our way and start off. And with that in mind, we're going to look at the mouth. So mouth comes in multiple ways, multiple shapes, depending on their use. In certain cases, there would be just one closed off loop. In which case, it would be totally okay. In other cases, you would have some mouth bag behind it. So in this case, this one was removed, but you could out of this type of setup, create whatever type of mouth bag you want. And what I mean by mouth bag is if I was just to go inside of the mouth. So real quick, I'm just going to expand it, click Shift in H and see what is going on. So this is what we have inside of the mouth, just like that. And actually, it might already have a mouth bag as it is. And yeah, it does have a mouth bag, so that's good. So what a mou baag is if I was just to hide half of the head, we could see it a little bit better from the inside. This is what a mouth bag looks like. And we would be able to put teeth inside of it. We would be able to put like tongue inside of it if we want to or alternatively, sometimes you wouldn't have mouth bag at all. So this entire piece would be removed and filled in with just, well, just a simple filler. But if you do want to have your mouth moving and stuff, you would need this. So how would we unwrap it? Well, we would simply just grab the inside like this. I would just select the mouth baack just like this and click Control plus until we get to perhaps this point over here. Then click Control minus. See the selection, how it looks like. And there are some parts where I see that well, it's not selected. In such cases, what I sometimes do is I would expand my selection just like this until I can see the entire edge loop. Then I would just select those spaces like this and use Control minus to deselect it this way. The selection now has a perfect edge loop going all the way around. This only works if well, edge flow is properly set up with the flow of the topology. If it is, though, we can go ahead and select this. We can simply unwrap it and use what's it called? Minimum stretch? There we go. And we get this. Although the shape is, well, quite an interesting one like this, unless you are putting a camera inside of your mouth at some point, I'm not sure why you'd want that, but if you are not planning to have wrap would be more than enough for such a setup. I just keeps a nice basic look and you'd be able to add certain texture to just put darker texture or something of the sort darker skin texture to well, have some substance, some volume behind your teeth, your tongue, whenever you're speaking as a character. And that's pretty much it. Now, in regards to other pieces, I'm going to go ahead and just click Old and H to unhide my head. Go to select this piece over here and going to click H because it makes our lives much easier. What we can't see, we're not going to harm, and if it's behind other pieces of mesh, it would be problematic sometimes. Now, in terms of the ears, let's talk a little bit about that. When the mesh goes, in my personal opinion, when a mesh goes over 90 degrees. So right now it goes over that degrees and goes inwards and starts getting some additional complexity, you would realistically want to separate that piece of a mesh. So you can imagine, for example, if this character would have, well, let's say, something like this, and you can imagine, like, maybe, like, a word would be coming out or something, and to do, do to do, but just to change this to median. I could get this kind of a word like this, anything like that, you know, and it's like, Hey, there's a bit of a pimple. Honestly, I would definitely separate this piece of a mesh as a separate island. And the reason being is that we don't want the parts of the mesh from here to be distorted too much. So that would be my reasoning. And the same goes with the ear, by the way. This ear over here would be best to be just removed. So we'd make sure that all the pieces, you know, that go around it, around the ear would end up not being distorted. When they're trying to unwrap all these well, cavities and go inwards and outwards, it would try to add that additional type of texture density. But to avoid that, we can just go ahead and select our ear like this. Click Mark Sam and there we go. I will do the same on the other end as well. So this part over here, Yep, marking, and there we go. And honestly, that would be more than enough. We could just select these ears like so and unwrap it using a minimum stretch because it would give us these type of settings. And although there would be some bit of a stretching, you know, in and out, but all in all, it would be kept quite nicely. And I believe I made a mistake right here. Which is fine. It doesn't matter. I used edge selection over here, and that caused the outer walls to also try to unwrap themselves. But because we have not unwrapped the head just yet, it's okay to leave it as that for now, because we can now hide the ears and start working with this entire face, like so. The thing is sometimes you would have eye sockets, as well. In which case, you would do the same thing as you would do with the eyes, and you would just select these sockets. You would just cut it out, same thing again like we did with the mouth, and you get, well, this kind of shape. But in this case, we don't have it. And the reason being is that we have, well, the eyes. They will hide the sockets up, and for some reason, my ones have moved a little bit by accident, so it's fair enough. I'm just going to reposition them. We're going to have something like this for a character, which is, you know, pretty cool. Next up is going to be, well, the main head. So the way most of the people would do in terms of, like, unwrapping, the most general use would be just to split the backside and the front side. I'm going to hit shifting he to make sure nothing else topology wise when we do the edge loops get selected, so we can just do nice little edge loops going all the way across, like, so and that's pretty much it. You might be wondering, you know, maybe it would be better to start with the back side, just touch the side of this. Maybe it wouldn't be as visible with the edge seems, but distortion then for the front face will end up being a little more. Some people tend to do also edge loops a little bit closer to the face. That way, the places where it goes inwards and outwards for, like, nose and mouth and lips, have more freedom to be relaxed. The smaller the UV shell is, usually, you know, the easier it is for the shapes and forms to be relaxed. Some people would even go with this kind of face, like so to be just completely separated, and then perhaps they would create an edge loop going from here to here and separate these parts, like so, essentially, essentially, creating half of the loop something like this. So you'd have three islands if you were to create it like this, like one backside, another backside, and you'd have the face as the main proportion being just completely unwrapped. And that's fair enough. That would be a perfectly valid situation. But again, from what I've seen, most of the times, it would be just halfly unwrapped. Like, so and we have a look. There we go this part over here and mark seem. And basically, we'd have the backside unwrapped using minimum stretch like this. Then the front side would also be unwrapped using minimum stretch. And I completely forgot one more thing, the nose. So let's talk a little bit about the nose after we do minimum stretch like this, and we get the result, like so. So what I want to say about the nose was that if you have a look at the stretching, if I was to make this squad a bit larger, so it would have more density for the squares. We could see that quite a lot of interesting stuff happening around the bits around the nose, and the reason for that is the holes. Right now, the holes aren't too big, but usually you would also want to just unwrap these holes, so for the same reason as you had the ear, where the moment it starts going well in and out and it starts trying to add additional topology within you would want to make sure that the overall shape also gets well used up for the texture density for the main nose part. So because yeah, that would allow the nose to be more free, let's say. So that would be mark Sam part over here. And other thing I've noticed in certain cases is if the nose is quite a bit bigger. So, in these areas over here, if you're having more of a stylized nose, and it just starts sticking out quite a bit more, something like this, or I'm just going to use there we go. Something, you know, like this, perhaps, for some reason, whatever you're trying to make, it would end up having, you know, more depth in these areas. In those cases, I would also recommend you to just do the nose separately. So having this entire nose selected, all the way around, try to follow a topology. In some cases, it might not work quite as well. But that would be also an option. To make sure that, you know, the cheeks and those areas wouldn't have too distorted of topology trying to save up this nose over here this entire nose. And like, so Yep. That would be that would be reasonable to do. And when you are working in substance painter and whatnot, those edge seams, you'd be able to somewhat hide them with a triplanar projection materials. These are quite handy when it comes to making sure that, well, we hide the material using the seams. And yeah, let me just go ahead and click Control Z to make sure we get the nice noes we had previously. There we go. And I just realized that this part is a little bit smaller than this. So I'm just going to make sure we have consistency, and that's it. We can just go ahead and now select the face again using SIMS, and I'm going to unwrap it and we can see the difference of our nose. So right away, Oh, I am making a little bit of a mess. What's happening? Well, proportion, everything is on that's what's happening. Alright, so this is how the nose looks like now. It will have way more control over the relaxation process over those squares over here, and that would be much better. And that is it. We have all of our needed body parts. Now, if we are having some, you know, clothes and armor and stuff like that, you wouldn't want to realistically see all of the body parts. Some cases, you would even want to just delete some pieces. So for example, these body parts might not even be visible, and you would end up just simply deleting them like this, and this is what would look like out of the main mesh, simply just to optimize the entire part. So that would be potential, you know, if they have trousers on, if they have a t shirt on, that would be perfectly viable and totally okay. Um, but Eva way, if you want to have a full model of a body, it's fair enough. You can then go ahead and average island scale and pack it. And let's go ahead and make sure we rotate it, have a margin, and that's it. Pack it up. Let's see. All right, so this is what we're going to get. Now, you might be thinking that it's over, but I would also recommend you for a face. You might also have a little bit more of topology, so I would increase the size by two or even 1.5 like this, and it would have just a bit of an extra topology to work with. The back mouth. So this one over here doesn't need to have this much resolution, it can be smaller like so. And that's pretty much it. Hands perhaps. If you're doing hands, I would recommend you doing both sides of the hands. But that's a foot actually. Missing a hand, there we go. Another piece of the hand. If you're doing additional, you know, resolution for the hand, you just do it up top and bottom part of the hand. And now we can redo this packing stage, and we get more resolution for both the head and the hands just like that. To make sure we emphasize it a little bit more, we can upscale it like this, even if we want some super close up of facial shots, that will be totally fine, and we get something like this resolution. Which, you know, might be a little bit too much, but hopefully, you get the idea. It is completely reasonable setup, and that is it. Thank you so much for watching. I really hope you enjoyed it, and I'll see you in a bit. 49. Vertex Painting Textures with RGB Masks: Hello and welcome back everyone to UV Mapping boot camp mass and wrapping and texturing in blender. In the last lesson, we finalized the human unwrapping. Now we're going to continue on with the next stage, which is vertex painting. And in this stage, we're going to talk a little bit about, well, what to do when the Yumi space is just simply not enough. This entire mesh, we could say that, for example, it looks pretty good for a nice little bit of chunk of rock. But if we make this, you know, quite a bit larger to be placed in the scene to be used as a terrain right away, you'll notice that the texture is low and it's not as good. What can be done? Well, we could try to, you know, increase the size of our mesh, but then the repetition is going to get ahead of us, and then everything is going to look the same. Obviously, we're not going to want that. The seamless texture will not help us in this case. Just a simple seamless texture is not enough. What do we do then? Well, in those cases, this type of material called ground material will come to our help. And the way the setup for this material is quite simple. If I was to show you in the shading parameter, we got this nice little setup. What does it do? How does it work? The important thing is that we essentially have three seamless materials tiled up with one another, which have the scaling setup like this. And it will allow us to mix them up based on we have a Zoom in over here, color attribute. This is essentially, well, vertex painting. What vertex painting is is if we go to edit mode, each one of those vertices allow you to have and contain RGB information in a vertex paint in other words, meaning that we can paint out whatever we want. To create a vertex paint is quite simple, actually. I could show it right away. And by using BDSFPrinciple BDSF, I'll just put it over here and attach it to the surface, just to kind of visualize how it looks like. So color color attribute, like so just going to attach it right away. And this is what we're going to get by default. It's going to be black if we start going into option for that for vertex painting, going to make this a little bit smaller, like so. So we would have more of a screen. If we were to go on to vertex painting, it's going to turn why. What happens? Well it by default, right away, it applies an attribute, an attribute for allowing to save color information onto your vertices. And with that, you can then just change the colors and start painting in any type of way you want, which is pretty cool. You know, you can just have colors and stuff like so. And you can also use these as well as masks. If we have a look, for example, over here, we can use separate There we go. We can use separate color to separate the colors of RGB values to be used independently to give us black and white masking. Meaning that if we start using because right now, just as an example, I attach green to the base color, I can set it up to be green and it would give me that white mask. If I were to set the value to black, it would led me to well, turn everything black. Same goes if I wash this to set this to just completely blue, it would also turn everything to black because it's not green. When using these kind of masks, you can essentially use the RGV values independently to create masks for, well, you guessed it, three different shaders, three different seamless textures. Each one of them has a little bit of unique setups and whatnot, but that's how it works. And we can use these to our advantage. So I'll just plug this back in for a mixed shader and there we go. Essentially, we're able to now make use out of it to use R, sorry, R for red, green, and blue values to blend in the tiles quite nicely, just like that. And just like that, we're going to have dirt for one, the rock for another, and a lighter dirt or soil for the final one. And when I'm using it, I prefer to change a HSB, which is used saturation value to RGB, which then allows me to change from green to red and to blue just like that. And if I want to blend those values up, I can also change the strength to something smaller, and then it starts just blending in these values much more naturally. And that's basically it. And we can use this, for example, to rain to get well, anything we want out of it, to be honest, we can make the size, for example, rocky. So I believe that will be green, if I'm not mistaken. Is it green? No, it's not green. Sorry about that. Blue? There we go. It is blue. So now we have a terrain out like that. The first thing we need to do is sort out a little bit with the UVs because they are not proper UVs. We can see that they are a little bit squiggly and there are issues because it's not been unwrapped properly. And the reason for that is because I really want to talk to you about how to unwrap certain terrains. If you're making a platform, you wouldn't need to have anything underneath. So for that reason, my recommendation would be to just simply select the mesh, go to Edit mode, select it all, and then go to mesh and bisect. Make sure you click one beforehand because that would give us the side view like this and bisect will allow us to go all the way across like so, and then we will simply need to change up plain normal values. So only one value would be perhaps minus one. The rest should be zero. And that will give us the straight setup like this, and we can use this gizmo on the side to kind of control how far we want us to cut out. Then we just need to select if clear inner or outer, and we get an empty base, which would allow us to unwrap it with using minimal stretching. So that would be the best way of doing it. If you do want to keep the bottom if you're using for rocks and whatnot, I would still recommend you to have creating this edge line like so, because it would give you edge loops. And the reason the mesh itself is looking a little bit wide like that with a bunch of triangles and whatnot is because this was well decimated, actually. If we go ahead and select this mesh, we can click on 22, two, two, two, remash and then there is a auxlRmash. You could try using quad remash I would give you cleaner topology, but with auxlRmsh, you would be able to when you are out in object mode, you would be able to topologize this. The reason it's important is because you actually do need to have this type of topology, the density that is. You need to make sure you scatter the topology everywhere. If you're just having, you know, some plane with maybe, I don't know, having a plane some bit of an inset on the side, then this would not be enough. You would definitely need to make something a little better. And for that reason, if you create something additional like so and have it like this, you can just simply use axel remsh if I was just to make it I'm not worried about topology at this point because, well, we are showing auxlRmash. So when you click auxlRmsh, it gives you topology like this. You can lower the auxel' size, and that would start adding additional topology density. So before doing anything like that, just make sure you before using the auxlRmash, make sure you set up the right auxel size, which you can visualize using Alt and E, I believe, in sculpt mode. If you go to sculpt mode, R, and then it will allow us to well change up this. We can see the grid on the side and going up and down or sort left and right, will allow us to adjust the scaling of the grid. And then this will adjust the auxel side over here. Or if you are in sculpting mode, you can just simply use this button on the top right hand side. It is the same button. So once we have the setup for auxel size, we can hit axel remash and that would give you the right type of density for a mesh. So yeah, the reason I'm saying this, again, mainly because when we have a mesh like this, we definitely need to have this extra topology. I'm just going to go ahead and redo this part real quick to make sure we have, well, the upper section cleanly set up like this. And afterwards, we can just simply use unwrap minimum stretch. Or if you have the bottom piece set up, just make sure you do mark seam on the cut. And that way, the top and the bottom would be set well separately. Then afterwards, we can simply make use out of the vertex painting and make use of painting abilities. So I do often change from HSB to RGB for that setup. Red will allow me to paint piece in one way. The green will allow me to paint it in another way. And again, all of it is because I have separated them based on their channels. So RGB are three different masks now, which are used to overlay three different materials. And that's pretty much it. Feel free to enjoy play around with it and see what you come up with. And, you know, if you want more resolution out of this, all you'd have to do is just because it's a similus secture you can go onto mapping itself and change this up to well have more resolution. I just need to find the right one. I believe the light soil is the one. So if I were to go here, I can set this up, and now we'd have even more resolution, of course, the pattern would be more visible. So we'd have to well hide it with even more of the painting. And if we want to, we can even change up with strength and then start blending the values up a little bit, like, so to get more variation out of our pieces. So, yeah, just make sure when you're doing this, although it's not much of a texturing type of focus setup, make sure when you're doing this, to have identifiable spots. For example, the cliffs would be more well, rocky and whatnot. You know, you could start off by just quickly, you know, painting it out, it over, like so. And then afterwards, holding shift, I can just blend in the values a little bit more and then even go further the next step to get even more detail out of it. But just like that, we can just go ahead and just do a little bit of painting and then slightly, you know, soften it up for the top perhaps, going in with yet another channel, so green perhaps and just using the smaller strings to kind of help us break down these cliffs, just like that, maybe more dirty on this side over here and something like so. That will be lovely. And, you know, the rest is up to you. So, yeah, that's going to be it for me. Thank you so much for watching, and I'll just put this back in its place right where it belongs. Like, so we can move on to yet another section. 50. Modular UV Tricks & Decals for Detail Boost: Hello and welcome back around to UV mapping, boot camp, mass and wrapping and texturing in Blender. And in this part of the lesson, we're going to learn a little bit how to make use out of our already existing UVs and how to get more resolution out of things that we can control. Instead of trying to squeeze everything within a high resolution or using more materials, let's look for alternatives. So first things first, what we might notice is this floating wall within a wall. And this type of wall is actually the duplicate of the lower pieces over here. It's the same type of setup, but you'll notice it's much shorter. So if you have a look for example, behind the wall, we'll notice that we also have well the texture behind it and whatnot. So that's quite interesting because if we look at the material or if we look inside of the material, we'd see that the textures are exactly the same as set over here. So how did we make this smaller? Well, for SaaS, we have these tiles over here. And these tiles are quite cool. But if we want to make them smaller, if we were to try to delete these part over here, for example, try to hit delete, not like that with normal delimeter, try to hit delete, like so, we'd see that we are now having dark spots. And the reason we are having dark spots is, well, this particular chunk was set up as a module piece, and we baked out amber occlusion in between all of this til space, meaning that, we have issues when there are gaps in between and when we want to well delete some of them. One way to fix that would be to well bake out these tiles separately. So we'd have some space in between. Another way would be to well have an entire section like so and just have a couple additional tiles for whenever we want to delete the area that's not needed, we'd be able to then replace it with the correct tiles in areas afterwards that wouldn't have baking issue like this. And if you think about taking separating all of them all at once and just manually building them up or maybe having free variations and then using something like array modifier, then you wouldn't have all of this unique detail for starters in the texture, and you wouldn't be able to have these darker spaces in between tiles as well, because, well, you wouldn't be able to bake it out amblclusion as this. So, what I did over here was simply hide it out of the way. I ended up just deleting the outside for Sarus, like so, and just hiding it behind the wall. Nice and quick, cheap type of way for a fix, but it will work. The other way would be using what I did with this wall over here, which seems quite alright. And for this part, I actually just simply used the bisect once we use a bisect, like so, we clear out the outer or inner, and then we use fill. When we fill it in, we just make sure we go to edit mode and we unwrap the part, just like that, minimum stretch or conformal, and fit in wherever looks like it could just be overlapped like so, and that's it. It's not going to have those edgewaar that we'd have over here, for example, but it would do its job. So those are quick ways of getting use out of our using maps, making more module pieces, for example, and whatnot, and it's nice and simple. Now, in terms of additional way of making more variation, well, we have some parts over here at the bottom. If you're not seeing it quite as well, we can go on to modeling mode for Sarus and we can just click on this shading button like so to see that there are four planes. These four planes are basically decals. Now, decals are simple they can have more detail or more PBR values like roughness, metallic and whatnot, but these ones just have base color and opacity. And the base color is just, well, color for specific decal and opacity will allow you to just put it into the Alpha so they would be transparent. Sometimes it's set in one PNG setup. If it's a transparent image, you'd be able to just use Alpha directly on the Alpha. And yeah, that's pretty much it. Enough of that. By making use out of it, you're going to be able to, like, how should I put it, distract the player with the magic and make some of the more noticeable parts seem more unique. And that way, you wouldn't notice as much for the repetitiveness of some of the pieces. If I was to make, you know, these pieces overlap like this, it would end up being very clear that it is the same wall, like so. And that it wouldn't be quite as good. But if we start using decals, we can change that. So first things first, we can make use out of decals to add something like graffiti, for example, where it's just a distracting nice piece to make sure that we're hiding those repetitive textures. So here, I'm going to just simply use Snap with face selection and set up with a line rotation to target. And that way, when I have this selected, I can click G and move it upwards like this. Then I'm just going to move it, so then I will just turn off the snapping tool real quick and use local transformations to click GY or X or Z. There we go. And just offset it a little bit from the wall, just a tiny bit. Then use RX or sorry R Z and just rotate this decal in any way, shape or form. Sapo decal is, well, quite seafru. So we have an alternative one. We have this one, for example, we could put it on the wall as well. So again, I'll just turn on the snapping tool and put it somewhere on the wall like so. And I think that's going to be quite right. Just like that. And again, I'm just going to turn this off. Gs, move it outwards, just a little bit. So if you want it to be super accurate and make sure it's not, you know, hovering, we can just do we can go into the move section once we move it from local axis, we can move it to 001, and that's going to barely go out of this section. The reason we're doing this is because, as you might have saw previously, if we set something that's straight up overlapping with the mesh, it's going to start glitching out because it's not going to know what render what to render first, the plane or the wall itself. That's why just simply upsetting it by just a tiny bit not even visible from the side, we're going to be able to get something reasonable. It still might be glitching out because, well, we are in the preview camera preview mode. It's estimating the stuff. But if you are rendering it, we wouldn't get that issue. Even so, though, you can always just, you know, move it outwards a little bit, like so, and that would be fair enough. Now, other decals include something like blood splatters or dirt, stuff like that, grunges that would be going by the edges or on the walls, top sections, for example, if we have some repetitive edgewar, we could make use out of these splatters over here to kind of get a little bit more of a unique type of a look. So right now I'm just placing it like, so I am going to it upwards with well snapping turned off, GE or in this case, GY, there we go. And I'm just going to make sure we have a nice alignment. And just like that, we're going to get ourselves nice set up. Now, if there is too much open space in a decal, what I like to do is just simply move these downwards, so double clicking G and then moving it. So Edge slide will allow us to kind of save up some space on our performance as well as certain times it starts glitching the top section because it's just an empty plane. If you're using cycles, it's not much of an issue, but it's just worth knowing just like that. Anyways, we'd get something like this and, you know, a bit of a splatter. Is pretty cool. Pretty cool, yeah. So again, right away, what's it called? The repetitiveness of a texture starts fading away, so this black spot and this black spot, you know, are going to look exactly the same because there is a small little, what's it called graffiti on this wall over here. And because of it, you're just not going to see that same pattern. This dirt over here, where is it? This tiny, barely visible type of a dirt can also be used. We could cover up the space on the floor. Something like that. So if you were to use, like, you know, multiple tiles as we talked previously, you could use something like this to kind of get that extra bit of detail. And that way, it's not going to look like, you know, it's not going to look like the same pattern. And yeah, just by having something a little bit, like, so we're able to break off this pattern, this seam and, yeah, that's pretty much it from the starting point. I just realized I lost a wall in the process of deleting one of the things, so I'll get back to you on that in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 51. Procedural AO & Grunge in Shader Nodes: Hello and welcome back your run to UV mapping, boot camp, master and wrapping, and texturing in Blender. In the last lesson, we left ourselves with a little bit of variation. We also had a wall missing, which I ended up just duplicating it and putting it off on the side. Now, in terms of the setup for getting additional variation, additional detail out of our props, we have procedural materials. The main title of this section. Let's talk a little bit about that. Firstly, I'm going to show you the setup with using cycles. Basically, in trace rendering, you get a lot of information that you can make use out of as masks. So let's go ahead and make use out of them. Well, for sats, I'm just going to select this wall over here on the side, and I'm going to start off by making sure I duplicate this material. It should be already different to the walls in the back, but I am just going to make sure I have a new material to work with. That way, when we go onto shading, we have, well, new piece of information to work with. Oh, within a shading tab. What can we do? Well, within here is where magic happens with all the material setups. We're not going to go too much in depth, but we're going to touch the main subjects on how you get additional variation out of your materials. For Saus, this already has am occlusion mixed up with base coal just to make sure it kind of darkens up some pieces and not leaves the wall as flat. You can see it, especially in the crevices and what not. Like so. But if you want to not have that and just make use out of renderers default ambit occlusion, you can do that. You actually have a real nice setup boda. So within the shader itself, we can use ShiftinA and search for ambient occlusion. This will give us an input ambient occlusion, which is this node over here. It's not the same as this texture, which is just already pre make texture. This is something that uses the cycles engine. Going to go on to Renders property real quick, make sure that we have cycle support, and the device is set to GPU compute just to make sure that it runs a little bit faster. And then we're going to go onto viewport shading to see this wonderful wall that we have. So that's a nice little wall. What can we do with it? Well, for SARS, let's go back to the ambient occlusion. We can plug this directly into base color. I'm going to use color like so in case you are attaching additional parameters onto the color channel and start combining it. So both of these will actually give you the same piece of formation at the moment because nothing else is attached to it. So yeah, we have a couple of options for SARS there is only local, meaning that it's not going to grab any information of amb occlusion from the edges or from the outer wall or from the floor. If we use only local, it's only going to grab the information from the object itself, as you can see it, like so. And essentially, ambit occlusion, what it does is it gives some darkness in crevices in all the darker details. That allows us to add additional type of information onto our material, even when, you know, maybe you have a low resolution or something on a wall and whatnot. By just simply using ambit clusion, you're able to get extra depth out of your geometry and imbuing that into your well texture. So just like that, just by looking at this Amter clusion over here, you can see the already difference that we get by just simply having just white by having a white wall in comparison to well having ambit occlusion added to that. There are samples here and whatnot, distance that you can somewhat control to help you out. But honestly, what we need to do with this amber occlusion for controls would be to make use out of color. This little shader over here, this little node will help us to control how dark and how bright we want us to get and how much of a contrast. We have 2 hours basically at the start, and we can just use those as a default by dragging the dark arrow. We can see what it does. It gives us darker shade on the setup, and by dragging the white, we're able to bring out the white. By getting those hours closer, we're getting a nicer contrast into our setup. Just like that, we're able to get something like that. Alright. But here's the thing, though. Using it by default might not be quite as nice because, well, we would need additional texture. It just makes use out of the topology, out of the crow system, or whatnot, and it's all good and nice, but it's not quite there in the setup. So what can we do? Well, we can make use out of noise texture. Making use out of a noise texture, we're going to be able to combine it and get a much nicer look. Right away to show what we're doing, I'm going to click Control Shift and just tap on a noise texture. This gives us a preview directly attached to the material output, which we can cancel by clicking Control Shift on the last node, principle Shada BASF, and that would give us back to the Shader setup. Anyways, going back, Control Shift and click, we're able to get this out of a noise section. And by simply scaling this up to ten and adding detail of eight, we're able to get some bit of roughness. Speaking of roughness, we're going to increase the roughness to one, and that's it. We're getting some nice little distortion out of, well, this noise, L as you can see over here. Now to combine the amber occlusion and the noise ture, we can use mixed color. Mixed color will allow us to combine it, so I'm just going to drag it into the point over here so it gets the amber clusion gets attached to A, then we can use noise exture attached to B, and this is what we get. We can use factor to control the setup between those two. I'm going to click Control Shift and just tap it over here so we can see what is happening. So factor of zero is going to give us this, factor of one is going to give us this. And if we change the blending overlay whilst we have the factor of one being essentially meaning that both of these are completely overlay with B being on top, we can set up as overlay, and it's going to now overlay or amber occlusion with this noise texture, which is pretty cool because we get additional bit of well, variation out of this amber clusion type of a noise. If you want, you can also well set up this part again with color ramp like so, and we can get even more variation out of our setups. So if we just drag it like this, we'll see that now it's breaking up quite nicely. So before we had this, which is nice and smooth type of detail by just making use out of color ramp, which is looking like that with the noise texture. We can now get some real nice type of detail or something like concrete wall for something like Grange type of texture. It's going to look quite nice, just like that. And that's a good base which we can now make use out of. So I'm going to just move these notes a little bit higher, just like that because in order to combine them, what I'm going to do is I'm going to use principle BSF. So if we were to make another BDSFFPrincipled, like, we can combine this with the principle BSF that we have at the bottom. So we can use mixed shade of for that. So let's attach one to the other, like so, and attach it to the surface, just like that. So this will allow us to blend in between those two. To get our color back, let's just put the base color back onto the base color. We're not using the Amer occlusion anymore because, well, we might as well just use this amir occlusion that we just generated, although it can be used both at the same time. There's nothing wrong against that. And let's go ahead and attach this overlay that we created onto the factory onto the mask, essentially, to get this result. So what is happening over here? Well, we are essentially telling to overlay the principal BSF to be well mixed up with this principle BSF, which has nothing. So if we were to increase the roughness, if we were to change the color to maybe more like an orange, rusty type and darken this quite a bit, we're going to get something that's, I'd say, quite nice. And, you know, if you don't like this amount, as we talked previously, what we can do is we can simply go on to ambit occlusion, find only local and remove it. And now we're only going to get some details in crevices. So here. If that was to see that, that is, there we go. B just increasing it like so, we're able to see it over here. So maybe that would be more of a preferred setup, and you'd be able to get more details out of all the crevices and whatnot. So even if it's like, lower resolution like this material, you'd still be able to get and pick up some real nice edgeware and whatnot out of your mesh. So that's pretty cool. I'll just put this back onto Local and just readjust it because I quite liked that dirt that we had over here. I think it looked quite cool, actually. And, yeah, that's the basis of Amber clusion. We're now going to move on to a couple of additional tricks to make use out of a procedural generation, and then we're going to look a little bit into, well, how to generate mass for real time type of engines. Thank you so much for watching, and I will be seeing you in a bit. 52. Edge Wear Masks with Bevel & Gradients: Hello, and welcome back everyone to UV mapping, boot camp, Mass and wrapping and texturing in Blender. In the last lesson, we left ourselves off with some procedural texturing using cycles, and bet occlusion. We're now going to find ourselves a couple of more additional tools to make use out of. So let's head right into it. The next thing I'd like to teach you about would be bevels, and they will allow you to essentially create your curve maps. Which would give you edgeware. For that, to create that, we would have to make use of a thing called Bevel, like so, and we'd actually get ourselves information if we were to click Control Shift and click on it, we'd get this type of information. By default, it's pretty cool, but we need to actually have two of them to differentiate on the thickness of what we're getting because Bevel, by default is just basically taking the normal formation, but faces facing where and we don't want this. We want to make sure we're able to get well, some edgewar. For that, we are going to use mixed color mixed color. We're going to change this right away to differentiate like so, and we're going to attach two of them just like that onto the setup to get, well, nothing by default because well, firstly, we need to make sure we increase this to one. And secondly, we need to change the clamp overlap is already titone. We need to change the difference because one has to be lower if we were to change this to point. Or we'd start seeing some additional detail out of it. So this will allow us to well tell the differentiation of the edges. And well, the upper one, I'm going to leave it as 0.4, and the lower one, I usually leave it as 0.01 to get this type of result. If we want to have thicker type of edgeware, we can always just increase this to higher value. If we want lower, we can change this to smaller to get this type of mass default. 0.04 is fine. No and then we are going to make use out of the color ramp because color ramp is important when we are setting up the edgeware because we can then do some additional fine tuning with it. So by lowering this, you can see the type of edgeware we're able to get simply out of this bevel method, just like that. And of course, in order to mix this up with something, we could make use out of the mix shader setup additionally. So another version of this, and we'd make another principal PSF. And that would be fine. That would be fair enough. But the thing is not always do we need that. We can also just make use out of this as a mask just for a base color, just like we did with amid clusion like we saw with amid occlusion by default, we can make use out of the base color with a color mix. So color mix, like so, and we can attach this little piece of work that we had, is going to move it all the way to the back. Like, so don't mind this. Let me just move this up top. So I'm grabbing right now the bevel that we set with color ramp, and I'm going to mix it into the base color. And putting it into the value of B, so I'm going to click Control Shift and tap just to see what we're getting. This is what we're getting. It's almost there, but not quite because we want to increase this to one and change it to screen. That means that we are getting the brightest value out of it. And we can play around with the factor a little bit to get additional adjustments, but you can see just how easy and simple it is to get some additional edgeware in comparison. We're getting such a nice result just by doing that. If we want, we can also just lower this a little bit, kind of tightening this up, and we get just some nicer nicer result. So that's how we get edgeware. Now, the other thing that I'd like to mention would be something that would allow us to get more of a gradient type of masking. For a gradient type of masking, what we can do is if I was to make use out of attribute, so there is something called attribute, so we can make use out of attribute to get, well, vector information. It's not visualizing that. But if we are to separate that, separate XYZ because vector has three values for X Y Z, we can then preview this. And again, it's not showing up because we weren't using the right one. What we need to use actually is attribute. Sorry, attribute position. There we go. So it's the same node except at the bottom, it will have information grabbing the position. Now, if I was to just move this out, so we're going to get some information out of it. If we were to change this to a z value, so we can preview what the z value looks like, we can see that we're getting darker mask at the bottom. And essentially, we can just make use out of this mask to use it with color ramp. Like, so tweak it, adjust it, make it suitable for you and even make use out of the noise texture that we had previously. So we can just even copy the ambient occlusion that we previously had. Like so put this up with well, the overlay. So right now what we have is attribute taken through separate XY z color ramp, taken to the overlay, and the noise texture will be here. Now we're going to get this kind of a look, which is looking pretty good. And I'm going to make copy out of Mix Shader and this single principle BDSF like so. Just like that. So now we can connect already existing mix shader onto value of B. Is it B? Yes, it is. And we are going to get a nice result. Well, not by default, because we need to make sure we put overlay into the factorio so and just like that, able to get some nice bottom parts. So this bottom part can be done for whatever reason you want, you know, if you want to make it a more grotesque type of a look, you can totally do so by just making it look like this, maybe even lowering the roughness, and it's going to look like, you know, something creepy, crawly and all of that beautiful stuff. And, you know, you can just adjust where is it? The color ramp over here to well increase it, make it look really gruesome, like so or just barely visible would also be quite alright. All of that good stuff. Also, you can well, change the color ramp itself. You can change this value over here, so it would barely be visible like so. And now we're getting some interesting results, really interesting results. Usually, though, black is actually the one that's well removing the mask while white is the one that's adding the mask because we have these essentially flipped, we have it like so. But any way, we are just basically telling to the factorial value what counts as zero is going to be one value, what counts as is going to be another value, and we are using the values in between to tell how to blend that in. And yeah, but now I'm just going to go ahead and make it a little dirty instead because I think that's going to look, well, that's grotesque, actually. Now we can copy this same result onto the rest of the walls. So because these walls are actually using the same type of material, we can just be a little bit cheeky with that. We can just select all of these walls. Hood shift, select this as a first wall or the last wall. So we will have that orange selection. Click Control L, ink materials, and now it's going to do this. In order to avoid this kind of issue, all you need to do is go on to object properties and find yourself visibility tab, then scroll down until you get to the shadows. By turning off shadows, you're going to, well, disable that detection, and you can just put it back onto the wall just like that and just have it turned off for the rest of the items just like that to get yourselves some nice bit of decalts which this is a little bit too high. You just noticed and that is pretty much it. In order to make use out of this same shader for the floor, what you could do is go on to well, shadings panel that we have created all of this type of setup, like so, and you can just select all of these panels just like that, including the screen bevel, all of this. So I'm just selecting these tabs. So A clusion section, the edge ware and finally, the gradient. I can hit Control C, move this on over here and make sure I am making a duplicate. It's probably it's actually a fur duplicate. That's right, though. And then I can just paste it like so. And then we can just simply rearrange it. So for Sarus, we don't need am occlusion over here, but we are going to mix it up with the wonderful screen for the edgeware. I believe they need to be A and B like this, different positions. Like, so, put it back on the base color to get this result, which, you know, we can just use this value to darken it a little bit like this, but bit of an extra edgewre. Next up, we got ourselves, well, mix shader. I'm going to move our trusty material output all the way through back, and that way, we can just start kind of well, realigning everything that we had previously. And I believe I am missing mixed shader. So real quick, I'll just make a duplicate, put this like se and so, wait, what am I doing? Sorry. So duplicate mix Shader, like so, put the principal BDSF onto the value of A and put the mix shade that we had previously onto the value of B and just attach it to the factorial for the overlay that we had from our gradient. Now, the gradient here is not going to work well because, well, we don't have much of a gradient. Can we get anything out of it, though? Let's have a look. I'm going to click Control Shift and just see if we're able to get anything out of it, which we definitely are. So let's get this onto the mix Shader and see what we can actually get. Well, Turns out we can get quite a lot, actually. As you can see, like so, this one also forgotten, little decal, needs to be taken off with the shadow, like so. And we get some What are we doing here, actually? Let's see. So this is what we have. This is what we're working with. And by getting it as close as possible to a value, we can even just select this white arrow and just use the position over here to just set the value, something like this. We can see that we are getting some parts going inwards. So we change it to 0.015, it starts picking up from the base. And here, we can make use out of a color or maybe more of a mossy look. That would be pretty cool, something like so, and that helps us also to darken, as you noticed, these parts inside. Something like so I think it's pretty cool. Maybe a little bit more even so 0.17, getting that bit of an extra, just playing around. I think it's pretty cool. And that's it. That's how you get the floor to make use out of the same type of masking that we had on from the wall to the floor. Thank you so much for watching and I will be seeing you in a bit. 53. Smart RGB Masks for Reusable Textures: Hello. Hello, and welcome back around to UV mapping, boot camp, master and wrapping and texturing in Blender. In the last section, we left ourselves off wave while showing how we can generate certain masks to add detail onto our UV maps for the texturing. And in this case, I'm just going to tell you real quick that, yes, you can make use out of certain masks. To do somewhat of a similar setup, except this time I'm using RGB values, and I'm using substance pata to bake that stuff out. I'm using smart masks to create, well, certain detail for edgewar over here. Then I have green mask for all the cavities, which is going to work kind of like, well, the ambit occlusion. Then finally, I have the base setup over here, which is going to work well, like the gradient. And using all of that, I can make use out of the where is it linear Dodge, which is going to add all of this together, all of these values, blending all of that in, and then I can export it out. Once I export it out, I can essentially go onto any of the software, whether it's unreal engine or in this case, blender, and I can make use out of it just like I did with well, the previous procedural materials. So over here, we have this baked out mask already exported, and then I just separate the colors to RGB and make use out of it. So just like I did with the Edgeware I'm making use out of it over here and added just a color ram just to have sort of control over it. But what's nice about this is basically we don't really need any of the additional detail for the UV map. This is, like, maybe, like, not perfect. It has some space on the top, and you know what? It's totally okay, because the way we're using it over here allows us to do something like this. We're able to use seamless texture just like that to get detail out of or barrel. So by increasing the scale something to like six, we're able to get much fiiner detail, much nicer detail out of this overall setup. And then we can, you know, just play around with, you know, edgewaar stuff like that. We can then go and make use out of that same mask over here to well, fix it up with dirt. So dirt, all of this little dirt over here, you know, we're able to make use out of it and just turn it into a nice little additional type of detail. And then there is also, well, the most at the bottom. We can make use out of this mask, which again, is the same mask from the combination except this time is blue. This blue can be made use out over here to well create this nice little detail. So just like that, we are able to well get additional detail out of our barrel by combining the masks. And again, this type of method would also work in unreal engine, you would also be able to set us up in Godot or Unity without the need of, you know, adding multiple type of setups. Although I will say, well, you wouldn't need to add multiple materials, but in here, we are using three different materials. For welded wood and two variations of metal. And you might think that, like, Hey, wouldn't that be the same thing as just using just multiple UV maps and using three different material setups? Well, no, because in each case, we're basically going to be re using that same seamless texture setup. So you can imagine if I were to make, like, table this time, chairs and stuff like that, I could reuse that same seamless textures that I have over here and just simply have a new mask unique to the prop. That way, the size for the project would be much simpler. The performance would be much greater overall instead of just having each individual texture for base color, for metallic roughness, normal, all of that value unique to each prop. That would be a lot of rocles that would take a lot of performance if we'd have a large scene. So, yeah, that's going to be it for me. A little bit of a short explanation. Thank you so much for watching and I will be seeing you in a bit. 54. Creating Trim Sheet Textures with Extrusion: Hello and welcome back eon to UV Mapping boot camp, Master on wrapping and texturing Blender. And this time we are within the trim sheet use of the section in which we're going to make use out of well, trim sheets. But before doing that, let's learn a little bit about what exactly they are. So a trim sheet is a single high res texture atlas of reusable details. Things like bolts, seams, panels and such, you can use to essentially stamp out the detail onto your mesh. By manipulating UV islands, you're able to match the regions instead of just simply modeling that additional detail or using texture techniques for each detail individually. It is great for efficiency and consistency. You're able to get some instant iterations out of it by manipulating the UVs and you're able to use precise UV mapping to get pixel perfect type of detail out of your meshes. This is what it's going to look like. It's going to be a texture sheet with a lot of different patterns, perhaps. We'd have variations in horizontal lines, so we have maybe some additional panels at the bottom that are a little bit larger to make use out of. But having it so would allow us to, well, create a lot of detail for the meshes. We can think of them as sort of a toolbox of unique textures that you can carve up and assign to different parts of the model. Again, everything is done using UV island points, and you can adjust them and make them larger, squish them around until you get your desired effect. By manipulating them, you can essentially get unique pieces that don't repeat unintentionally. Is a special purpose atlas full of small repeatable details that we can tile across islands, snapping mirroring and such for the same regions. Now, the difference, though, it's not an atlas. It's not exactly an atlas. Although we could categorize it as part of being an atlas, it is completely different to one another. The texture atlas would be just having many different non repeating maps, such as wood, metal, plates, and such. To be placed into 10 to one UV space to reduce the material count. The UV parts would be non overlapping, meaning that each one of them would have its own section and each island samples a unique rectangle. If we have a look at the previous section over here, you'll see that all of those little small pieces in Section ten, we had them as separate little squares, and that's the big difference on atlases, as they're simply there to help us reduce the material count within our scenes. On the other hand, the trim sheets that we can use are a little bit different. Their purpose is to pack modular surface details and stamp them repeatedly across a mesh. It is a more advanced variation, essentially, the UVs are often overlap. They're tiled outside of the zero to one UV space. That's quite important because I see a lot of people saying, everything needs to be in zero to one space. In the past, there were some issues, for example, with light maps whenever they're being used game engines, but now they generate automatic UV light maps themselves. And especially with something like trim sheets, you ideally would want to work outside of the zero to one UV space, mainly because it helps to get more organization into your well, UV islands. Once you start editing them out, once you start manipulating and reusing the same detail, it can get pretty well, pretty complex, actually. So in short, an Atlet group uses unique textures for different parts. A trim sheet reuses the same texture, snippets over and over again for efficiency and consistency. So we'd have those patterns that we can be re using to exaggerate certain, for example, edges, certain angles, and whatnot within our seen. The other thing that I'd like to mention is that they're often repetitive, not in terms of just a seamless texture, where it would be, you know, an entire piece could be just repeated on itself. Although in this case, it could potentially work like that. If we were to have this selected, we could upscale this, and now we can see this entire repetition, so making it seem like it's multiple panels attached to one another, which is fair enough. The main thing, though, is that well, it is having repetition in terms of X axis only. And in most cases, when I see trim sheets, they have this type of repetition, meaning that they can't go horizontally. To the side, but it can't go vertically up or maybe it's opposite. Sometimes it would go vertically up and not to the side. We can actually test that out. I can actually show you the technique real quick. So if we were to go to extrude region like so, and we can use this extrusion to extrude outwards like this with orientation set to normal. So it's the same as just clicking E, but orientation is set to normal over here. When you click click N, we get active tool options. And one of the options is within the extrude region, within the active tool, if we were to make sure we have this option turned on, correct face attributes, it will allow us to extrude the faces just like that whilst giving us, well, the UVs right off the bat. So it's a little nice feature to make use out of, and we could make walls just like so and on top of that, what I'd like to mention is before going right into the trim sheets to unwrapping it for the objects, we can make use out of the setup to well, get some nice panels. So what I mean by that is, let me just duplicate this real quick. So, for example, we can start off by clicking control R and using it in edit mode to create edge seams where the pattern is in between the panels. So for example, in these parts over here, we could just create some edge seems just like that. And if we were to continue on doing we'd be able to, well, make use out of the UVs, the already existing planar type of projection for the UVs to get some additional edge loops and additional detail. And once we, for example, we set something up like this, we can then just, you know, extend this a little bit. We can, for example, turn this a little bit into well, additional extra detail like so and have this even actuat even more, just like that. And by playing around, you can see we get some, well, additional depth out of this mesh by simply just adding already onto already existing plane or projection, this type of mesh. And this is by the way, not a plane. This is, well, a more three dimensional objects, just to make it easier for you guys. But you can see the type of a setup that we're able to get. It's really nice and simple. And over here, for example, we could add parts of we're like so and just extrude it like this. And in such panels, it's actually better to just avoid well straight edges, like so. But even if you are doing straight edges, once you get some detail onto the texture, you could click S Z and just extend it like this and we get more of that, you know, type of a setup. Maybe this one lower down as well. But make sure you have what's it called the tool for correct pass attribute turned off? This will allow you just to adjust the topology a little bit better if needed. But yeah, nothing too overly complicated. It just helps you to visualize where you want the detail onto your mesh, and add all that nice little pattern onto your setups. And, you know, once you're happy with, let's say, this part, well, I'll add one more over here because I think it'll look pretty cool. So I can just move this outwards like this. And once you have, so, you can start adding even vertical parts. So, for example, this one over here, we could try getting additional detail out of it. And the easiest way would be to just add extra edge loops around it, like so. And once we have extra edge loops, we can select this part. We can click I and insert this type of setup and then use slide method by double taking G. It allows us to slide R um, what's it called topology by just moving it around like so. We can also do it individually to the vertices, just like that. It just lies though around based on the setup, and just like that, we're able to get some nice detail. Of course, we can go back to the correct basic attributes and just move this around, and that will also keep those UVs aligned. So up to you how you want to do it. But once you get something like this, we can select back the face, turn off the correct face attributes. Because if we do not have that turned on, it might sometimes start glitching out a little bit with Vs when we are extending it. But you can see just by doing that, we're able to get some interesting and unique type of details. So over here, we could also extend it, like so get this little part inwards and select these parts, click I put something like this. And I don't think we even need to use correct based attributes. We can just extend it, like, so get a bit of additional detail. And just like that, we're able to get something nice. And afterwards, we can just select the section. I'm just going to make sure we select this entire piece, correct based attributes and just maybe, you know, move it outwards or in this case, because if we want to make use out of the same already existing topology that are on vertical pieces, we'd have to, well, duplicate this entire piece like this and move it to the side. We could also use snapping tool because this is a two by two type of a panel. So we can use this with a grid and just move it. Oh, what happened here? Well, I had the align rotation target, to make sure we turn this off. And we can, well, snap our panels just like that. And I have one like so. And we have some, well, interesting little detail to use within, like, scenes and whatnot. And it looks like it has some bit of a nice depth. And yeah, nice little Sci fi panels. Now, going back to our setup, let's try to make use out of this exact triplanar not triplanar, sorry, trim sheet type of AUV panel to well, applied detail onto our meshes. So let's see what we can do about it. 55. Trim Sheet Alignment with Magic UV Tools: Hello and welcome back eon to UV mapping, boot camp, master and wrapping, and texturing in Blender. In the last lesson, we left ourselves off well, we're showcasing some of the wall abilities for the trim sheets and panels and that sort of stuff, which is pretty cool. But let's get into objects. Let's ignore the claw machine over here for Stars and move on to the back box over here. Have one sample preview over here set up like this, and we have another one that just has the same material applied but has no UVs. So let's make use out of it. Let's go ahead and just simply select these two and isolate the view this way. Nothing gets in a way. And we have our nice little sample box to make use out of. So let's get right into it. Let's select our box. Let's go on to the edit mode. I'm going to hit old Z to make sure it's not transparent and we have this type of shape. You might be wondering what's up with, well, the triangulation and whatnot. In certain cases with trim sheet, because you don't have control over the textures that already are set with the setup, well, maybe you can change, you know, the trim sheet, type of patterns and whatnot, but you don't have control over each individual pieces if you're trying to use those trim sheets on multiple objects. So what you certainly in certain cases, what you need to do is you need to add extra topology onto your mesh, in this case, triangles, which we are going to make use out of in order to help us cut up those patterns into more of a unique UV island setup to get, well, a nicer look out of the crate. As you can see over here, we're going to get all into that in the BitoF now though let's prepare ourselves with trim sheet setup. So firstly, make sure you click on one of the faces to get yourselves this trim sheet visual. If you're not seeing it, just make sure you click on this part over here and just select the trims basical like so. And I believe this one is ticked off for me, but it should be turned on automatically if you have this pin selected like so. Now, we are going to get ourselves more visualization out of this square because we're going to work outside of UV space, zero to one space. We need to click on button over here to open up the panel within the UV editor mode. Then we're going to go on to view. And we're going to select repeat image, which is going to give you a bit of a flashback because everything is so white. It's just, Wa, maybe I should have given you a warning. I think you're going to be okay, though. And let's just get right into it. We still have the visualization where the zero to one UV space is, by the way, so you should still be able to see the setup. And I'm going to just select all of this. Create and just move this UV space, which should be this tiny chunk over here onto the bottom piece. So just letting you know that just like in a previous setups, I simply use Project from you. Where would that be? So clicking U Project from view just to make sure I grab the entire setup of the UVs, and that way we can go back to it whenever we want and just, you know, see what we're missing perhaps and whatnot, all of that good stuff. So first things first, let's start with something more basic. Let's start with those borders over here because they're nice and straight types of unwraps. We can go ahead and make selection like this. And I'm using C button on my keyboard and just getting this little circle selection, which we can use right mouse button to cancel it and left mouse button to select it. Of course, mouse wheel to move up and down with the scaling. So that is it. And if you make wrong selection, you can just use your middle mouse selection to deselect it. I'm just making sure that nothing else is selected. So we got ourselves something like this. Afterwards, we can do the same selection for the bottom pieces. Like, so and this will make our lives a little bit easier, just like that. Now, we can go ahead and click Unwrap UV Rap Conformal, and we're going to get this nicely placed in our zero to one UV space. Of course, because we're using drimsets, we actually don't want this. We want them to be overlapping. For that, we can click N and make us out of the magic UV section, just like we did use previously. Again, this is an add on. A free one at that. But you can use UV manipulation stage with the group set as UV Island, and we can click Snap to Point to make sure we have all of these nicely overlap just like that. You can then rotate this by 90 degrees. And once we start moving it, we can see that all of these details start popping up into our section. So what we're going to do now is we're going to make use of our well, the edges, the longer parts over here. To just place them horizontally like this, and we can even upscale them. And in here, we had some nice little patterns in the middle. I am actually going to go on the Object mode real quick, have the a selection, and just make sure we have the panel in the back for more visualization purposes, just to see what we're doing. It's a little bit easier perhaps. As a starting point. So we have this part over here, which I'm going to make use out of. And for that, I'm just going to move it to the side like this and see how well this goes. So we're going to actually move it outside of a zero to one space, just put it off onto the side somewhere, and we are going to just now ignore basically that pattern, zero to one space. And if we look at it over here, we'd basically be just putting it into it just a tiny bit like so and get ourselves the pattern. That. Now, this part over here, if we have a look at it, is actually just 1 bar over, like, so with two railings on the side. So essentially, what we're doing is setting it up like this, and it would give us that pattern. The thing is, though, that this pattern would be on our sides. So that's not good. We want to be more in the middle. We would have to do a little bit of mirroring, actually, for that, and that's okay. Because we're going to get some nice detail. For Stano, let's grab the smaller pieces. We're going to use UV linking, like so, and just make sure we grab all these smaller ones and just have them somewhere placed with detail a little bit off onto the side, just like that. And when I'm sorting this out, I'm also upscaling it, making sure that the top and bottom pieces are where the panels are. So it would be like, over here and over here. That way, we're getting ourselves this nice edgeware out of our setup, something like S is giving us really nice setup. I notice there is a bit of a line over here, so I'm just going to click Gx and just move it off to the side and a little bit more perhaps like this, nice clean little base, just like that. And now let's go back onto our beautiful setup over here. What can we do in order to get just well, not to grad not to type of grading but just one. We could, of course, just move it like this honestly and that would be quite nice. Maybe we could leave it as is but let's say, you know, it's not okay. We want this to be not that way, basically. What can we do? Well, we can just select one of the pieces, one of the sides with the phase selection, and now we start moving this, it's going to split up all of these parts because, again, they are overlapping. So what we're going to do is we're just going to click Rs 180, like so and overlap them yet again, just like that. And if we want to make use out of alignment, we can. I will show you in the future, a little bit different way of aligning. But for now, what we could do over here is just simply align it like so, and I'm making sure that this is just the middle, which it is perfect for us, meaning that when we select these vertices over here, we can click what's it called No We can just right click and we can just straighten X. And that's going to straighten it up for us, like so. And it's still not going to look quite as good. So what I'm going to do is I'm going to show you this other method right away. We can select all of the UV islands like so and just simply use button to merge by distance. This will put all the islands merged up like so, and it's only going to do it in UV island, meaning that we can just select one island, like so, and it's still going to be a separate piece. But all of these are now going to be properly stacked and overlapped, like so. And one thing I will say is that I didn't mirror it properly. So it wasn't mirrored, but instead rotated 180 degrees, meaning that we're going to get something like this. We actually want this to be on other side, so I'm going to rotate it, rotate everything 180 degrees, and now we're getting this centered up. And we can just move it inwards like so until we get a right type of a look. So maybe something like this would be pretty good just like that. And we're getting 1 bar over here. We got 2 bars over here. Again, because of the mirroring, didn't we didn't mirror it, meaning that what's on the top on one topology over here is going to be on the bottom of the other. So that's why there's two selections over here or one side and another. Like so. And that's right, though. So I think I'm going to leave this type of bar as it is, because instead of using mirroring, which I could have done, I ended up using just rotation. I'd like to show all of the techniques. So I think I like this even more. We are running out of time, so let's go ahead and continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 56. Corner Details & UV Mirroring for Trims: Hello. Hello, and welcome back everyone to UV mapping, boot camp, master and wrapping, and texturing and blender. In the last lesson, we set ourselves up with a nice bar going across, like so, and now we're going to continue on with, well, the detail. So let's start off with this part over here. We can go ahead and select it. And for Saras, we can just set it up as a panel like so UV conformal, and just put it out 90 degrees. Move this inwards, and I'm just going to put it up. Somewhere like this. I think it's going to look quite nice. So for now, we're going to keep it as is. In order to make squares like this, I will actually show it to you how to make it on this part over here. I think it's going to be enough. But let's move on to while adding detail. So now let's say we want to add these edge borders on the side. We can do so. We can go ahead and select these edges, so I'm going to select both of these on both sides, click and use uniform on rap conformal. Like so move this outside a little bit and do the selection on the longer pieces like this. And use on wrap, not minimum stretch, conformal. It's the same but a little bit different. Now we can go ahead and select both these pieces and use average island scale to make sure the scaling is proper. Now we can overlap them using magic UV, snap, two point UV islands. Yep, that's going to be great for us. And we are going to rotate at nine degrees and find ourselves what are those stripes that we have over here, which are going to be used to add detail like this. The important part here, though, is that we are making sure that this panel for the stripe, as you can see over here, it has some nice bit of edgeware. And this edgeware we need to encapsulate it into the edges over here because for the top, we didn't do that. For the top, we just made sure we have, more of a plain type of a look, and we need to make sure that we have, well, an edgeware over here to make it seem like it's well, part of the mesh to make it seem like this edge over here is actually being affected by the weber and stuff. So when working with trim sheets, it's important to think about this kind of stuff, how we can incorporate all that little stuff into our setups. So I'm just going to upscale it like this. And we don't need to worry about it going outside of like zero to one UV space or going into our repetitive parts because, well, it's quite repetitive in terms of X axis. There's not going to be a single upper panel. Meaning that it's going to be quite all right. I say that and I see this part over here, which I do not like. So I'm going to click Gx and just move it outwards. Yeah, Gx and move it outwards. Making sure my mouse is on the right side, by the way. A voice is not going to look quite right, and I think that fixed it. I think that's quite right. We can select by clicking L with the UVs. We can select these parts and click Gx and move this because I see this part over here and I don't like this being offset like this. So maybe in the middle, like so I think will look quite nicely for us. Yep. I think it looks quite alright actually. And yeah, adjustments like that, you know, making sure that the detail goes, the pattern goes in the right places to kind of make it look more believable. That's the key over here. And yeah, in terms of this panel over here, let's go back a little bit to it and talk a little bit about it. We can make it larger or smaller, depending on the setups. We can also move it so we wouldn't get as much detail or get some detail, for example, over in the corners like this. And stuff like that is also important. When it comes to sizing itself, we can make it, you know, a bit small or we can make it a little bit larger. But the point is that when we are looking from, like, you know, a screen, we are seeing like, somewhat of a similar detail. So even if it's, you know, the detail over here is a little bit smaller in comparison to here, when we zoom in super closely, we can kind of see it. But if we're looking at it from a distance, there's no way anyone would see that type of difference. You know, the reflection is there. The pattern is there. The sizing of the pattern is somewhat similar. And that's pretty much it, you know? It's okay. It doesn't matter too much. General rule, though, is that, I try to avoid going twice the size, more than two times the size or smaller than half the original or the main pattern. So, for example, if this was the main size, I wouldn't go more than scale two, like so, and I wouldn't scale it down more than scale 0.5. Oh, scale 0.5. Like so, so nothing less than this, nothing more than two. It would give you a reasonable setup. Now, let's move on to these triangles over on the side, actually. I think that will be a nice little transition because they are quite fun to work with. So the reason I mentioned previously about, you know, adding topology, making sure we have more ability to work with, like, different patterns and whatnot, let's say we have something like this where we want the pattern to go in their own like little loop. We don't have anything like that. We don't have any triangles. It's only lines. So what we're going to do is we're going to cut up this entire square, not this entire square, this entire quarter into three little trangles. To do that, we can go ahead and select the edges like this because we're going to mark them as seam. And we can simply after doing that, we can simply go on to a selection, select all of those pieces like so, and unwrap them with conformal setup. And this will give us three different triangles just like that. Now, if you don't have I'm just going to move it where there's no up UV islands. If you don't have all of them rotated in the right angle, no, don't fret. It's okay. You can just simply select one of the islands and use R 180. To rotate it, like so, and that will give you the right setup. And afterwards, what we're going to do is select those three little triangles. We can click N, use the Snap point, and now it's going to be overlap, but they're not going to be perfectly overlap. So that's going to be an issue for us. We can use M by distance and just increase this until we get something like so. And now we got ourselves a little triangle. And if we start, for example, overlapping somewhere where it has, like, a bit more of a vertical pattern, we'll start seeing that, hey, it's actually creating some interesting and unique little patterns. So that's pretty cool. Let's go ahead and make use out of them. If we start actually overlapping these holes over here partially, so we're going to get some pattern like this, and that is really cool. And yeah, by knowing that we have these triangles over here, which to do do do, I can click L and click G. Oh, actually, we can click L over here with the UV selection and now click G, and you can see it moving around. Because they're perfectly overlapping, they're going to be basically mirroring this pattern right away as it finishes, it goes to UV island. So from this section, finishes over here, it starts mirroring right away to another part, which is going to give us somewhat of a nice detail, just like that. And yeah, we're also making sure that we are placing this close to the corner, close to this little chunk over here, where the edgeware is, just to kind of break up the pattern, just to make it seem like it's another object piece. Otherwise, it's going to be quite visible with the seams. And that's another thing I'd like to talk a little bit about. In terms of scene setups, if you start zooming in, so for example, this island over here and this island over here, you start, well, seeing the UVs, it's going to be sharp, and that's one of the downsides of trim sheets. Although you can get a lot of resolution, and it's going to be quite optimized. One of the downsides is that it is going to, well, be shown somewhere with the seam. So even with these trangles over here, you know, if we zoom in really, really closely, we start seeing, like, a bit of blud just over here, and like, this metal grunge over here is being connected. So those are the small little downsides. But again, there's so much we can do with it. There is so much creative freedom. And although it can take a little bit longer in comparison to other UV setups, you have a lot of control over how you can make use out of the pattern. And well, you don't really need to worry about the texture density or anything like that. Out of one material drimset you can make use out of it for many, many objects. So we got ourselves one triangle. What can we do? Well, I am too lazy to work on multiple triangles. So my lazy way of fixing this would be to well, grab all of the rest of the triangles, like, so we can just make a selection just like that, and we're going to just simply delete it. Why not? So let's go ahead and delete it. We're going to leave the unwrapped one as is. And that did not leave unwrapped one. I'm going to click Alter L or Controlling L. AlternL ShiftnL, there we go. Shift L will allow you to just select linked and deselect it, essentially. So making sure that only D D D D do we just turn off the snapping tool only turn off the snapping tool, there we go. Only these corners are selected. We can go ahead and delete it. We can select these little free UV islands like So and make use out of it. And before doing that, I'd like to go on to vertex selection. So vertex selection is tacton and select this vertice right in the middle. We can use it as a cursor to active. So free Dcursor now is placed, is set, and we can use this as a pivot point. So let's select these corners over here. We can now go and change it. So the pivot point would be free Dcursor. And now we can just click Shift and D and click Escape, use S Y minus one. There we go. And now we can just do actually, we can do all of them at once. So we can just re select this part over here. This is now also selected, and it's making a mess, actually, what's happening over here. I just realized that aha. Yeah. So make sure you have correct face attributes turned off because it was giving me a mess on the corner. So by having this turned off, I can now do S Y minus one, and now it's going to keep that same UV setup as we had over here. Okay, so we avoided a little bit of a disaster, but that's okay. We can just make duplicate out of the two corners already at once, hit Shift D, click S X minus one this time. There we go. And we're going to get this setup. I'm going to go ahead and I'm going to go ahead and go on to the viewpoint overlays, select the face orientation. And yep, that is correct. It's going to have some flip normals. So quick fix is I'm going to select everything in an object merge by distance and then you shift an N, and that's going to flip them back on. So, honestly, when using a trim sheet before the face orientation would preview everything as red. Even if it's not red, everything as blue or red, even if it was facing in the right way, it was visually cluttering up. So maybe right now these days, it's best to just keep the face orientation as turned on all the time. So right now you can see that this part over here is flipped. We can just unflip it and continue our work. And yeah, I think we can continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 57. Efficient Trim Reuse with Rotated UVs: Hello and welcome back eon to UV mapping, boot camp, mass and wrapping and texturing in Blender. In the last lesson, we went over the basic setup of, well, the frame sheeet. We're going to continue on with making use out of it, too. Well, continue on with the box. So for us to do that, we're going to, well, check the previous box over here. We're going to get these stripes vertically over, like so. Let's go ahead and do that. I'm going to go on to the face selection. So over here, grab all of these little faces just like that. And we should get ourselves nice little setup for unwrapping conformal, which we can now find it on the UV setup. And of course, we are going to make sure well we overlap them. Then we can just go ahead and rotate them, like so, find a nice little spot. We can either do it with just complete gray like so or we could make use out of the orange sides as well to get some nice vertical beams just like that. But I think we're going to add vertical, sorry, the orange parts over here. So I don't think there is much of a need to do that on this part. So we'll just make use out of this instead. And I'm going to make it a little bit smaller just to make sure that no orange part is being placed up, and there we go. Nice little base. All right, so now next up is going to be, well, these squares over here. Let's go ahead and set these up. And for that, we are going to actually do something similar to what we did with the triangles over here in order to get these kind of squares where it is at the front on the side, and even on the top over here, not on case though. Let's go ahead and just grab this entire piece and split it up. Let's see how we can split it up and might as well just use shifting he just to kind of see only this selection. So shifting age so. And then we are going to actually put all of these into their own triangles, I reckon. Yeah. So in order for us to do that, we're going to just go onto edge selection. We can select all of these pieces, like so. And we're going to mark SM. So go on to edge selection, Mark SM. Then we can go to phase selection, select all of these faces and wrap minimum stretch or sorry, conformal, evil one would work. Then we can simply Ooh. They are not nicely packed up, which is okay. We can manually move them around. So let's do that actually. So what we're going to do is we're just going to make sure that all of them are at 90 degrees, like so, and just manually moving them around, like so. The reason we're doing 90 degrees is because if we have a look at over here, so this is 90 degrees, this is 90 degrees. Every single square has 90 degrees, and we're just going to make use out of it to make sure that overlapping is going to be perfect. And if I was a little smarter, I would use actual rotation by the 90 degrees instead I like this to make my life easier and faster. And there we go. We're going to get this sort of a setup. Now, what can we do with it? Well, for Cats, let's go ahead and do merge by distance to make sure that everything is overlapping nicely. And then we are going to place it in the section for the wide pieces. I'm just wondering which one we should use, and we could use probably this one over here. If we were to move them a little bit off to the side, we are going to get something, like this. Now, the thing is, though, we want to get these parts over here on the corner. How do we do that? Well, we can make use out of mirroring setup, actually. So for us to do that, we're going to firstly identify the ones that we're not going to move. So this one I like where the dark spot is, for example, I placed mine on the section where it just touches this dark spot over here, giving us, well, what we're trying to do with the hinges over here kind of a setup. So we're going to leave this. We're going to leave this this and this as well. We're going to leave all of those. So I'm going to just hide them out of the way or actually, I'm going to click GX one, and that way it moves our UVs a little bit off to the side, so now just make a selection for the ones that we don't want. And we can use mirroring. So mirror X is going to flip them around. Now we just need to rotate it by nine degrees -90 degrees. And just like that, we're going to able to get this type of a setup. So by mirroring the part around and then basically rotating it back to its shape, we're saying that, hey, whenever it touches this, it's going to then move on to well the upside, but this is going to be flipped. So it's just going to take this little piece over here and do that exact type of bit setup. Again, we might need to readjust the dough just a little bit because my rotation was not the best. So let me have a look. I'll just zoom in a little bit, like so, and let's see. So G Y, and there we go. We can just slightly reposition it like so, like that. The rest is going to be quite right. Actually, I need to readjust it just a little bit more because, well, it's now offset for the square over here, so I'm just going to go ahead and do that, see how it looks like and readjust our part as well. Well, actually, what am I doing? We can just simply overlap them like this, again, merge by distance now that we know that well, they're mirrored, and we can just position it like this. Makes life much, much easier, just like that. If you were wondering which side you needed to be rotated. So for example, before in this particular part, I just rotated, you know, -90 or 90 degrees. In this case, it was super simple because we just need to get the 90 90 degrees up on this side over here. But in other cases, it's okay to just have a well, selection done and then, you know, try to rotate it until after you've done the mirroring, of course, try to rotate it until you get to see where this edge is, where the mirroring needs to happen. Based on that edge, basically we try to align that both the sides would be mirrored from this edge. So this edge that we see going across diagonally would be our main pivot point for well, the mirroring. And that's what we would need to basically align that when we make a selection like this for an edge, we can see that these are the lines where the mirroring would occur. So yeah, that is a way to make this square. We can do it again, actually, on our side or on the front. So this part over here, now we can go onto the side, select all of the pieces over here, and simply go to Edge selection, right click, Mark SM and let's talk a little bit about how we can sort this out. So if you look on the right hand side, we basically have this type of square, but it's a little bit different because this part is also mirred and then we get some mirring part going diagonally, as well. So we're going to sort that out. We're going to have some little nice, well, rectangles coming out of these pieces. For us to do that, we'll firstly need to organize this a little bit. So once we have those entire sections, so we can just move it up to the side somewhere where we don't have already existing UVs and start well overlapping them. And most of the triangles seem to be right in terms of well alignment. I'm just going to adjust a couple of them just to make sure that they're straightened out a little bit more. Don't need to be perfect, but we can have it something like so. Now we can just simply, well, try to overlap one of them. And we'll notice that we have two variations. We have this variation over here and this variation over here. And if we try to overlap it, well, it's going to look something like this because the right angle is placed on the other side. And that's okay. To start off, we can just simply match them or match the triangles into two sections just like that. And that will help us to kind of get everything nicely overlapped. And identify where everything is. So let's go ahead and just do that. Like, so, like so, and like so. And we have essentially two pieces. But you'll notice that once we have a selection like this, we have these squares over here on the bottom left hand side and upper right hand side to be, well, these UV items on the left and the items on the right will be the opposites of that. And this is not the exact position that we want, but it will be a good start for us. So to start off, we're just going to go ahead and use Merge by distance to make sure we are getting some nice squares, some nice UV placements overlapping with one another. All of those UV shells will be in one's location. And we can also mirror this in X and then put it up like so. Again, we can just do merge by distance to make sure that all of these pieces now are actually nicely overlapping one another. And now, if we start putting them up like so, onto some of the pieces like this. We see that we're getting somewhat of a nice look, but it's not quite there. So what are we missing? Well, to starters, we have these pieces over here are actually quite nicely set up because the entire part is going downwards, like so. What we need now is to make sure that this is going rotated sideways, as well as this, this and this. So all of these need to go, well, 90 degrees like this. But if we start doing this, we'll notice that, hey, we can't exactly do it if we want to get this direction to be in the same way because then if we try to align this particular piece on the side, it might be a little bit more complicated. So what do we do in here? What do we do in this situation? We could for starters locate which edge we have over here, for example. This is the edge that we're trying to, well, put the triangle on. So now, for example, if I was to put this edge over here, over the strangle, we start seeing some of the faces, and we could potentially create something like this maybe. So something like this, maybe it would work, but not quite. So in certain cases, what I like to do is I like to make these UVs a little more uniform. And what I mean by that is, firstly, let's go ahead and just select it and use Merge by distance. And then, secondly, we would actually shrink this entire square to be more into well, a proportional square type was setup more like this. Something, something like so. And all we need to do is just move this a little bit downwards. I'm actually going to go ahead and select roll and just make sure we have the UV snc selection turned off just to make sure that when we are moving the vertices, nothing else is moving. So let's go ahead and just move this downwards like this. So we are starting to stretch some of those parts, but this will allow us to now we need to make sure that these lines over here actually go, well, horizontally. These already are looking nicely, going vertically, but these are not. So what can we do? Well, the thing is, it would be best to have them rotated like so, and to make sure we a little bit match up the well, these upper triangles, we would mirror them and get the what's it called? Right angle side on the same edge. So all the bottom would be on the same part. The thing is, though, because these triangles are actually allogated, they're not going to work quite as well. They're not going to help us out too well, get the right results. And for that reason, what I usually do is I actually make them more uniform. So it's going to give us a bit of a backlash in terms of, well, stretching out some texture. But because the texture that we're using is a trim sheet, we can afford ourselves to work with stretching out a little bit with that texture. And if the pattern is nothing overly complex, so for example, these grid lines over here, nothing too much, we can do that. So real quick, I'll just put this little piece back in its place just to make my life a little bit easier and re select it merge by distance. So now, in order for us to, well, get this square properly set up to make it more uniform, you know this entire square to be properly this triangle to be a proper square type of setup of a one to one ratio. What we're going to do is we're just going to create ourselves a simple plane. Doesn't matter where we can just put it off to the side over, like, so because we're just going to use, well, this UV grid from the square. And I'm just going to move all of the UV coordinates from one section to another. Going to select these entire faces. Tick off the UVsn selection because the vertex editing would not allow us to just select these UVs as is. It would grab the other sections, unfortunately. That's the way it is. We can now go ahead and grab these vertices over here, select the snapping tool and use vertex snapping. This way, we can just snap these over here, grab this vertice snap vertice selection, put it over here and grab this and put it over here. This way, we're getting ourselves a perfect triangle in a uniform type of a mode. And that will be good. Oh, that will be good if we were now to delete this square over here. What we essentially did is made our triangles more uniform. So now we can do some bit of editing for them. And the editing that we're going to do is firstly, we are going to locate ourselves this setup. So maybe something over here, perhaps. I'm just looking for something a little bit nicer. Or one of those, you know, darker hinges and whatnot, seeing what we're able to get out of it, maybe over here. Maybe this one over here actually quite nicely would work. I'll make it larger. Right now, I'm just playing around with it, honestly. But once we find a nice piece, for example, this hinge over here, I'm just making use out of it, we can see that this hinge is placed nicely over here, over here, over here and over here, and we need to, of course, rotate these pieces. So once we have this selected, we can go on to, well, turning back on the UVs selection because, well, we need to see the other faces. Once we see the other faces, we can now rotate this by 90 degrees and mirror this in X axis. And we're going to hopefully get this nice little mirroring effect, like so the downside of this is that it's going to be a little bit stress, for example, this hinge over here in comparison to the width of this part is going to be a little bit noticeable. But honestly, it's quite alright. And if you see over here, we don't actually have any hinges, so we could even, you know, select all of these faces like so and move them even somewhere like this to get nice box shape, of course, up to you in that regard. But yeah, once we get, you know, nice uniform triangles, everything is mirred in the right way that we want. By just moving it around, we can get so many different patterns and whatnot, we can even get something like this, which is, you know, pretty, pretty cool. So it is up to you when it comes to that. I will though, just put some edges, these kind of edges on the side. I think it's going to look pretty cool. Maybe a little bit like this. Very nice. So I love this type of design. Now we can go ahead and just grab these parts, like so, and basically do what we did with the upper section. So I'm just grabbing it all like this, which I think we can use Smart TV Project. In this case, might be faster instead of just selecting one by one, which is not faster because, well, we can try with a small angle. There we go. 46 degrees. We'll do the trick. And now we can just overlap these to an island and put them somewhere nicely tucked away in our orange section. So something like that. We'll do the trick, maybe a little bit Gx and just move it off to the middle part like this. Oh, nice. Everything is nicely in the middle. Very nice. I quite like this design. Okay. So yeah, we are pretty much done with this side of the section. Thank you so much for watching. And I will be seeing you in a bit. 58. Finalizing Trims with UV Mirroring & Snaps: Hello and welcome back around to UV mapping, boot camp, mass and wrapping, and texturing in Blender. In the last lesson, we left ourselves off with some more of an interesting pattern for the square sections over here. We're now going to do some bit of cleaning up for the rest of the items. And I am going to just select these parts over here and did what we did. Do what we did last time, which is we're going to make use out of automatic UV and wrap. Reason we are able to use automatic VN rap when the angles are not so high is because, well, this is going for upwards. This is the normals going to the sides and these normals going downwards, which if we lower this angle to quite a low degree, 35 degrees and around that amount will allow us to well grab each of those islands separately basically splitting this entire frame into four parts. Now let's go ahead and simply, well, do what we did last time, snapping to a point, putting it somewhere nicely up on the trim sheet where we have some little bit of space, just like that. So firstly, we are aligning the upper and bottom sections just like we did previously to get something like and then I'm going to check if we have anywhere, you know, those parts over here where it's just end of trim sheet. And I think leaving it like so is okay. We don't need those bars breaking up such short pieces. And yeah, that's quite alright. Now, I think I think we're pretty much done, actually. You might be thinking like, why, what's happening? We have so much left to do. Well, we can reuse a lot of the pieces, honestly. It doesn't need to be overly complex in terms of that. We just need to identify the patterns and just replace them with what we have. And I think that's quite a reasonable thing to do. So what we can do is just select the corners like we did previously, and I'm going to select them all just like that. All every single one just like that. The bottom ones can be now deleted and the top ones that we had, and I just made a mistake because this one was not supposed to be deleted. The frame that we did previously supposed to be kept on, only the corner is deleted so now I want to identify that these frames are properly unwrapped. This section at the bottom is not, so we're going to also replace this section at the bottom. Like so, selecting this piece in the middle and clicking Control plus to grow the selection. Now we can just delete it, and we're just destroying this little piece completely. We're going to do the same thing for the back sides as well, deleting this center piece because it wasn't unwrapped because we can unwrap it ourselves. I've missed a couple of pieces over here, which is fair enough. And I think the rest is fine. So I'm just looking around, checking if it's all good, which seems to be the case. Now we can select the unwrapped pieces. Click Shift D. I still have this cursor placed in the center, so we need to just make sure that our pivot is at the Fred cursor, and I'm just clicking G because I use Shift D to duplicate it. Use S and X minus one, click Enter. Hopefully that puts it on our side, which it does. It's red now. Let's not worry about it because we can just fix it all in one go. We can select these corners on the top now using the C selection, the circle selection. And honestly, once you master the selection, it just saves you a lot of time. So I do recommend you just playing around with it as much as you can, because as you can see, it's just a quick selection. Now I have made a little bit of a mistake. Mm hmm. Mm hmm. The mistake I made is simple. I didn't make a selection for the free de cursor, so we're going to have a bit of a trouble. Do not fret, though, because there is a solution to this. And the solution would be to make use out of the cursor editor over here, which would allow us to just use Leftmuse button to click wherever we want. The upside of this is that, well, we can use snapping, as well. By turning on the snapping, making sure we are within a vertex snapping, we can just drag it onto this vertice over here, which is going to be Z axis mirror point for us. Like so now we can go back to the Move tool. We still have that same selection that we had. I'm just going to click G to make sure that everything is properly selected. Going to turn off the snapping because I don't want this to be messed up, and I'm going to hit Shift D, escape, click G. All of these are nicely set up. And we can use SSt minus one like this, and that would be pretty much it except it's not ha. We have the bottom pace that we need to fix, which we can select this vertice over here, and I'm going to select this AA vertice over here and use Shifts, cursor to active, and cursor to selected. This will give us hopefully a freed cursor right in the center of our box. We can go ahead and make a selection like this. Click Control plus to make sure that these edges also selected, hit Shift and D, Escape, and then use R Y 90. Hopefully. Yeah, there we go. If it doesn't work, just change it here to -90 and it would put you up in the right spot, hopefully. And yeah, that is pretty much it. Or is it? Ha ha. I found another piece. This piece over here, we totally forgot. Sorry about that. Let's go ahead and just delete it. Grab this piece over here. Control plus Shift D, escape. We can also use, right click and mirror tool over here, which I'm not seeing here. So what I can do is, I'm just going to click G, make sure that it is separate, duplicate. We can click F free and search for Mirror. Like so and just use, I believe, local X. There we go. Or, you know, once we select the mirror, we can just do whatever one of the constraints. And it's just the same method in reverse to scaling using S minus one. Here is just the same method in a different way. And then we can just use shift and N to invert everything. And of course, actually, let me just double check. Yeah, everything seems right. We can now go ahead and merge everything by distance because we've done some lots of duplication. Need to make sure that these parts that we, you know, created and everything are part of the same piece. And this part over here, for example, didn't want to connect. So what is happening over here? Maybe some of the pieces just didn't get connected, which is unfortunate. Maybe needs to do a little bit of manual connection. I'm hoping it's only for this part. Must have missed it the first time. That's right, though. And this part also needs merged last. There we go. So hopefully, the last parts, they still have some issues. Uh huh, uh huh, uh huh. So what I'm going to do is I'm actually going to merge by distance and start slowly increasing holding shift just to kind of there we go. Merge it up. I'm just making sure that only these are being merged up. So just checking anything else that might be closer to vertices. And yeah, that's the part that also doesn't want to be merged up. So I'm going to increase it just a little more. There we go to get this type of a result. And that's pretty much it, actually. We got ourselves a nice little box, which can be used in scenes and environments and anywhere you'd want to have it in. Next up, we have this little guy. So let's leave that on for the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 59. Radial UV Mapping & Trim Workflow Wrap Up: Hello, welcome back everyone to UB Mapping, boot camp, mass and wrapping, and texturing in Blender. In the last lesson, we learned a lot about the box over here. Now we're going to learn a couple of extra type of setups, which would be helpful for unwrapping such a piece like over here. And the thing that we need to learn most would be how to make use out of radio setups to get these kind of designs. So how do we do it? Well, let's go on to the selection. Let's make a selection for one of those radial setups like so. And then we can simply unwrap it. And in order for us to unwrap it, we can just use unwrap conformal like this to get ourselves a massive circle. Then we can put this circle in half. So let's go ahead and select half of the pass like this. It doesn't have to go right across because it's a little bit rotated and that's okay for us. We can grab it like this and use our 180 like this to make use out of the setup. Now I'm going to just select one of the edges, and as you can see, this edge over here is actually this bottom edge at the bottom, meaning that whenever we have a certain pattern, it's going to well, not align perfectly. If we grab one of those islands and mirror it in wide directions, make sure you are within phase selection first. If you have a selection like this and mirror it in wide directions, now the setup will mean that when we have the bottom, it's going to also be at the bottom, meaning that if I was to, well, put these over, so and just quick alignment to showcase that. This pattern over here is going to be mirrored, meaning that it's well, going to be harder to see that what's it called seam, you know, the edges that would be splitting apart. And that's already pretty good. We can make use out of the entire setup. I'm going to go on to the a well face selection, just select both of these islands at once and use merged distance. Make sure that merged distance is set to quite a small value and just hold shift and then start increasing it until you get all of these merged up. And now we have well, perfectly overlapping setup, meaning that we have well symmetry on two sides, but we need to have radial symmetry because this part over here, we need to make sure that the lines are able to go around it. And for that, we'll need to do some deformation for the set let's go out of the UB sync selection because we need to now go on to verte selection and select all of these edges outside just like that. And then we can simply we can now with the selected use well, S Y zero, like so, and it's going to give us this type of a look, which already you can see it's giving us, well, a nice radial pattern. We simply need to slightly readjust it. So firstly, I'll just make sure that the first section is normally vertical. Then we're going to make sure that we're stretching the parts inwards. So what I mean by that is if we're selecting this first vertice and using proportional editing, we can use S and X with the proportional larger to bring these vertices inward just a little bit, making sure that we're giving the vertices outside a little more space. And I'm going to select these vertices over here as well. And actually, I'm not sure if this is a separate vertex or not. So let me have a look. And I'll give a quick check because I want to make sure that this vertice over here is properly set up. So this is actually two our vertices. Okay, that's fair enough. I'm going to select this and click GX with proportional turned off just to make sure that edge parts have well, some texture. Going to do it over here as well. And you can think that, you know, we did a lot of well warping, and it's not going to give us any texture or anything like that. Well, the thing is, we are, well, using trim sheets. So if we need more of a scale, we can just upscale this like so, and I'm just going to re select this and then upscale it if needed to get a nicer design. But by just simply adjusting something like that, we're able to get some clever little ways of, well, getting some radial texturing done. And keep in mind, such a type of UV island doesn't really need to be part of the trim sheet. If you're doing some texturing in an object as well, like using substance painter or something like that, you could totally use this kind of an island, and that would help you to get an instant radial type of a texture by just using directional noise or something of that sort. So yeah, play around with this type of mesh, get the design that you'd like. And once you're happy with it, Feel free to share your work. For this part, for example, we could put Mark Sam and re unwrap it using angle based, I believe. Yep, like this. Now we can just turn off the sync selection and use Alton E for the beautiful squares UE squares. And this way, we are able to get well, whatever the type of design that we want, actually. So maybe a bit of a black wiring on the side or something of that sort could work quite nicely making it look like hydraulics. By just simply turning this UV shell into UV squares. We are getting some nice ways of putting our trim sheet around this radial setup. And you can see how easy it is just to get some nice hinge work. And all of the rest of these pieces, we pretty much use that kind of same work as I have just now. The rest is pretty much the same type of work. The wiring would be, you know, unwrapped nicely as one piece. If I was to show you. So the wiring is just unwrapped as one piece and just simply turned into UV squares. So nothing overly complex. We can even do that over here. I'm going to go ahead and just simply hit Shift and X. Shift H, that is, to hide the pieces. Going to select one of the items like so maybe over here and mark C, then just simply unwrap conformal to get this result, and now we can just put it wherever we feel like. So we can just put it over here, make it a little bit smaller, make it larger, up to you to get some nice little cable designs out of it. And the rest is up to you honestly. If you feel like finishing it up and playing around with this piece, please feel free to do so. The reference is in the back. Although I would really recommend you to just play around with what you can achieve with this type of trim sheet. I would love to see your creativity, and I generally think that it helps with problem solving skills to improve them, to kind of see how the UVs are attached with one another by again, just simply playing around with them. Thank you for joining me on this comprehensive UV master class. We walked through every step from understanding trim sheets and out of bounds mapping to advanced on wrapping techniques and tool tips. So you now have everything that you need to tackle UV editing with confidence and purpose. I truly believe these skills will elevate your texturing workflow and deepen your grasp on UV shape, the look of any fred acid. Feedback is invaluable to us, so please take a moment to leave a comment or rating on a platform you're using. Whether it's a quick like or a short review, your input helps us refine our lessons and deliver an even better content in the future. Happy modeling, happy wing, and I look forward to seeing what you create next.