floor over here and I'm going to do that using the middle mouse button if you use the left mouse button or the right mouse button it won't work it has to be the middle mouse button so click with the middle mouse button drag over here release on the floor there we go we now have added a little bit of colour into our scene and that will wrap up this first step so we've created our first material we actually replace it later I just wanted to start with the lambs so that you know they exist going forward into the next step we're going to create our first Arnold material and explain what that means in the next step so I'll see you there it's now time to start creating some of our more photorealistic materials it's going to make our rendering look real nice and we're going to do that by using Arnold materials Arnold is the default photorealistic renderer that's built into Maya it creates photorealistic representations of lighting and material and you have to use Arnold's own materials to get the best results with that so that's what we'll do now we're going to create an Arnold material and it's going to be for the candlesticks I think before we create a new material then we need to clear our work area here what happens is every time you create a new material it just stacks the nodes up here and never clears it so it can get confusing quickly so what we need to do is always clear our workspace before we create a new material and we do that by clicking on this icon just here which is a white box with three little blue stars in it we'll give that a click and we now have a nice clean workspace again we now need to go back over to our create panel and we're going to create a material type called an AI standard surface and it's one of the Arnold one so if we just click on Arnold here that will filter so that we're only getting Arnold materials and we can filter further by going to something like shaders and that will only show Arnold shaders so as I said in this case we want AI standard surface so I'm going to give that a click and you can see that this has a lot more options also in our property editor there are more options for it as well first thing I want to do with this as always is I'm going to call it m underscore brass and in case you haven't already figured it out the m underscore is for material so that I can tell what are materials and what are not materials one of the good things about these Arnold materials is they come with presets which are really good starting points for a lot of material types so I'm going to click on presets here and we get a big long list of different types of presets in this case I think I'm going to go for either a brushed metal or a gold we'll try gold out so we just need to click on replace and that will replace the current properties with the ones from gold and instantly we'll get a preview of how that's going to look in our material viewer here you can see it looks much nicer than that dull grey we had a second ago you might now want to make some changes to make it look a little bit more brass like so I might change the color to be something a little more orangey and maybe a touch darker that was nice and so that's changed the color you can also change things like how rough it is so the moment it's got a roughness value of 0.150 which means it's not very rough you can drag this over to the right you can see that it starts to blur it gets rougher so I don't want this to be too shiny I'll take a little bit of shine off it something like that just blur it ever so slightly and then before we apply this to our candlesticks I just want to show you one more thing with the material viewer so we're currently viewing this in hardware preview which is happening quite quickly this is happening in a real time way but if you want to know exactly how this material looks when it's rendered using Arnold the photorealistic renderer we can change the hardware to Arnold and then what you'll see happen is this it's now rendering this and it renders out from the center and goes around in spirals and it takes a while and the fan on my PC is really kicked into gear now because this makes your computer do a lot of thinking but this is the material you're actually creating and this is what it will look like when we render at the end of the project the downside to this is that it takes a lot of computation so every time you make a little change so let's say I take this roughness back down a touch it has to render again and if you're on a slow PC this can get really painful so it's your choice as to whether or not you use this Arnold preview but as you go in for your final material as you will probably want to what I'm going to do now is assign this material to one of my candlesticks so I'm going to click on the candlestick here to select it I'll press F just to frame it so I can see what I'm looking at and then with this selected over here I'm going to right click on my brass material and choose assign material to selection and you will now see that that has done something but it doesn't quite look the way we would expect it to and I'm just going to apply the same material to this one as well so that will basically do it for this step and we've got our candlestick holders looking pretty in the next step we're just going to cover how you can duplicate and then make changes to a material and then we'll have a look at how we start previewing it in this window over here so that we've got a good idea of how this is starting to come together so I will see you in the next step in this step we'll take a look at how you can duplicate a completed material and then make some tweaks to it if you want to so in this case we could also just create a new material but if you've spent a lot of time getting a material just the way you want it and you want a copy of it to just make some small changes too this would be the way to go so we're going to create another metallic style material for our detailing on the pieces of table here so we'll see how this turns out and we're going to use our brass material as a starting point for it so what I'm going to do is just select it so just left click on it over here and then to copy it I'm going to go to edit you'll see that there's duplicate here and we need to do the whole shading network but I'm going to hang on for a second because I haven't yet cleared my workspace and it would get messy if I forgot to do that so let's just click on that to clear the workspace select our brass material, edit duplicate and we'll also copy the shading network there we go so here we are then with our duplicated material we're not going to call it brass, we'll call it M underscore I don't know what would you have end table piece now let's call it copper so we could at this stage now make changes to the color roughness whatever we want but because I'm a lazy little chuff what I'm going to do instead is go back to my presets find the copper material and replace it, this will now create our copper at any point you can now go and so you can see the roughness has changed, the color has changed you can change this further should you choose so you can make the color darker, lighter whatever I'm just going to stick with the defaults for now and add it to my end pieces so I'll click on one there I'll swing around over here shift select the other piece so I can add materials to multiple pieces at once I'm going to right click and hold on my copper and assign material to selection and now you can see they've gone black as well because they also now have materials assigned to them whilst we're here, we're just going to quickly create some wax materials for the candles as well before we worry about why we can't see these particularly well, we'll put in a basic light as well just so we can see how these should look so let's clear our workspace we're going to create a new AI standard surface we'll call it m underscore wax and then into our presets and here somewhere, there it is at the bottom replace so for some reason it goes with pink wax we're not going for scented candles though so we're going to change that color to something that's just off white like a creamy white so we'll change that to there and get a bit of sort of yellowy in it but despite making that change you can still see that there's some pink coming from somewhere now at this stage you need to start really digging into material to find out what needs changing and what changes you want to make to it and by opening this transmission area you can see that you've got some colors in here and what this deals with is how light passes through it light can kind of get into wax a little bit so we're going to make some changes to this as well and we're just going to choose the same waxy color and we'll also do that for the scatter as well although I might, yeah we'll leave that so we now have this color here and I've discovered that I'm not a fan of it so I might just take it a little bit closer to white on all counts yeah that's looking much nicer so once you've got a wax color that you are happy with bang it on the candles so I'm going to select that candle there shift select the other one and then right click and hold assign material to selection right so that we can actually see how this should look because at the moment we're kind of flying blind with these coming up as black or gray this is not really helpful to us so we're going to add in just a place holder light the thing that these materials are lacking to be able to work at the moment is a light and then we can render them properly so we're just going to minimize our hypershade for a second we're going to go into our make sure in your modeling menu although I don't think it matters yeah it doesn't matter so we'll go into our modeling menu there's Arnold here because we're dealing with Arnold stuff Arnold rendering so we'll open that there's a light section and we're just going to throw in a physical sky it won't do much it'll put a big black dome outside your scene now that we've added our lights to the scene we should now be able to render it the way that I would do this is just by changing our renderer here to Arnold when you do that this window here should pop up and then you can just click on play to start the rendering at this stage you'll get an idea of how your materials are starting to come together so we can see that we've got some metallicness going on here we've also got metallic happening on our candlestick holders and the wax material is showing up as well if for some reason this method of rendering doesn't work for you this is called Arnold IPR rendering and we'll get on to what that is a little bit more later but if that doesn't work for you click on Arnold and click on render and that will open a separate window and you'll get an idea of how it's looking we will be coming back to rendering later in the tutorial though so don't worry about it too much for now what we are going to worry about is creating a glass material which we'll do in the next step so let's go and do that welcome back it's time to make some glass so let's get back into our hypershade I've just minimized mine here it is what we need to do is clear our workspace we're then going to go into our Arnold shader section again create a new AI standard surface material give it a name so this one is going to be M underscore glass and then we'll go into the presets and see what we've got so we've got frosted glass we've just got glass and I think in this case I'm just going to go for a basic glass because I want to make sure that this can be seen through quite easily so we'll just click on replace there you'll see that our material viewer gives us an idea of how this is going to look you can switch to Arnold if you want to get a better idea of how it's going to render so that's the glass basically ready to go some really cool things here though as you have an IOR setting which is an index of refraction that's how the light is going to bend through it which is one of the cool things about these photorealistic renderers in that light will behave in a believable way that's why you can see the light being bent in this preview and there are some settings that you can use such as like transmission or subsurface to try and get some colour into this glass so if you wanted to be like a stained green bottle or something I want to really be able to see my liquids inside the bottle so I'm going to make sure I just keep it fairly clean this glass so with that ready to go then what I'll do is just apply it to my two bottles so I'm just going to use my drag and drop method for this one pop it on there pop it on there and what I don't want to forget at this point is that I also have a glass window over here so I'll also throw it on there and that's now gone see through you can see that the hardware renderer doesn't do a great job of showing where it is but as long as you've got this screen space ambience inclusion turned on you can at least see an outline of where they should be which can be really useful because they just go completely invisible otherwise but again if you want to get an idea of how this is looking you can change your renderer to Arnold and click on play to get the IPR render going and this is now going to give you an example of how the glass is looking because of the way I set this up earlier using parenting it appears to have also added the glass material to the liquid inside and to the corks which is not the end of the world because we're going to change those materials later but you can see that this is starting to come together now and we've got a good idea of how sexy these materials are going to become when we're finished in the next stage then we are going to start worrying about the liquid material that's going to go inside these two flasks so let's move over to the next step and make a start on that in this step I'm going to show you how to create a liquid material using Arnold and we're going to put some colour in it as well so it's going to be a coloured liquid what we need to do then make sure you're in your hyper shade and we are going to clear our workspace and create another new AI standard surface nice and easy I'm going to call this one m underscore health liquid and the preset I'm going to go for for this one is clear water and we'll just replace that this has now given us an idea of how that clear water looks I want a better idea though so we're going to swap to the Arnold renderer this is how the health liquid is coming together so far then I want this to be your typical red kind of potion so what I'll do is go into my settings and I'm looking for transmission and I want to give this a colour so I'll start by just clicking on the swatch and just choose the standard red colour and that looks pretty nice now you might choose to experiment with how red this is by changing the saturation slider so you might only want it to be a faint sort of red or you might want it to be a much deeper red I'm going to go for something like that I think and then that's that material ready to go for now we might make it glow a little bit later as we get onto lighting and rendering but for now this will serve its purpose the issue we've got now is selecting the liquid inside the bottle without selecting the bottle itself and for that what we're going to need to do is just go back into Maya and open our outliner so we get that by going windows outliner and that will probably pop up on the side of your screen over here or it could be a floating window and then you can see that now I've got my flask here and I can select just the health liquid and once I've got that selected I'll nip back into my hypershade and with my health liquid material I'm going to right click on it and assign material to selection we can see that now because this has some colour to it it's not completely transparent which makes it easier to see and we'll get an idea of how this is going to come together so let's just have a quick look at this press play and you can see that now inside this glass container we have a liquid and as light is passing through it it's also creating a red highlight on the table so this is all good so far before moving on what I would like you to do is duplicate that health material for a mana material make it blue or whichever colour you choose and assign that to the other liquid just like I'm going to show you now here it is so assuming you've done it correctly you will now see that you have a red liquid in one of your flasks and a blue or whichever colour you choose in the other that's going to do it for the basic preset section of creating materials we're going to move on to creating a texture based material next which is going to give us a little bit more control over how it looks it'll also mean that we need to start thinking about UV mapping as well but we'll get on to that in the upcoming steps so I will see you in the next step where we're going to create our new floor material as promised we are now going to create a new material for our floor and this is going to be a much more detailed one because we're going to use textures as the inputs rather than just colours we'll need to go into our hypershade then if we're not already there make sure your workspace is clear and we're going to start with a new Arnold AI standard surface there we go I'm going to call this M underscore floor 2 and before I bring my inputs in what I want to do is to get a preset that's close because it will set up most of this to be near what I want it to be and then I can just make changes so the preset I'm going to start with for this one is going to be just clay because that's going to be a fairly sort of matte naturalistic looking material so that gets us as far as that now what we're going to do is change some of these things so we're going to be using textures if you haven't done it already and you want to use my textures then in the link below you'll find a link to it go into the source images folder of my project get the textures and copy them into the source images folder of your project and you'll be good to go and I'll show you again why you need to have them in your source images folder so when I go to colour then this is what will change instead of changing the color here we're going to go to this little button here which I call the checker button so we'll click that this is going to create a render node and connect it to our shader and the node we want is a file because that's what our texture is so we'll click on file in the property editor it now gives us the properties for that file and we just need to load it in first of all so we'll click on the little folder here and I'm using the floor textures and I'm going to start with t underscore floor underscore d the d note that it is a diffuse texture and t means that it's a texture and there we go you can see it's a sort of sandstone kind of floor that I'm going for so we'll open that and you will then notice that the preview here changes what I'm also going to do is just change the preview from shader ball to sphere because I think that makes it a little bit easier to see now what I want to do is just click over here on the main part of my material to get back to all the standard settings and then what I want to do is change the roughness which is under specular I'll go to roughness and we're going to click on the checker button again tell it that we would like to connect a file and then click on the folder and then this time we're going to choose t underscore floor underscore r the r means that it's roughness so we'll give that a click you can see that's now made a change to the way that that looks and we're going to load in one more texture which is going to add the illusion of some depth to this material so we'll click back on the main node we're then going to just scroll down a little bit to geometry and expand that and we're going to add a bump map so we're going to click on the checker button next to that add a file now before we do that we've got a few extra settings we need to tell it what we want to use it as and we need to choose tangent space normals that's important for this step and then you can see that our bump value here this has got a connection made and the connection is actually this file over here so we'll click on that and now we can load in our file so let's click on the folder t underscore floor underscore n normal maps are always kind of purpley looking so we'll click on open and you can see that now brings in some really noticeable depth to it there is I have been reading apparently a bug with Maya that sometimes your normal map in here won't update if you're using an Arnold material if that's the case just click on the pause up here and then click it again and that will make it refresh and that should update it okay then that is the material made so I'm just going to zoom out a little bit in my preview here and I'm going to assign that to the floor now at this stage you might see a problem because we are currently showing shaded view in Maya but we haven't yet turned on textured view so as we're going through our buttons on the keyboard we've seen number 4 which is wireframe view we've seen number 5 which is shaded view we now need to press number 6 which is texture maps and now you will see that texture come in on the floor one thing to note is that we've only turned it on for this window here so if we minimize the hyper shade and look in this window it hasn't yet been turned on for this view as well so I'm also going to press 6 here this now highlights a little problem with the texture in that the blocks the slabs are just too big so what we're going to cover in the next step is using plane our projection we're going to start UV mapping and we're going to do that to make these blocks a little bit smaller so see you in the next step in this step we're going to have our first go at UV mapping and what UV mapping is is it's to do with how textures are mapped on to our polygon shapes and you can change those depending on what you're doing so flat surfaces like our floor are quite easy but surfaces with lots of different directions like the table take a little bit more thought to get us started though we're going to do what's called a plane our projection on the floor so we're going to start by having the floor selected you can see I'm not in my hyper shade for this I've gone back to my main Maya perspective window and with the floor selected up at the top of the screen you have a UV menu and within that menu you've got some different ways that you can choose to map so there's cylindrical, plane art and spherical and there are some others up here which we'll also look at at some point but we'll start with doing a plane art projection before I do that though I would just like to show you the UV editor so let's open this up for now and this will show us the way the UVs are at the moment for the floor so they're actually mapped fine already but I would like to just show you how to do mapping anyway and I'm going to do it I think to change the direction of the slabs just so that I feel like we've accomplished something with this so for now I'm going to close the UV editor and my UV toolkit make sure that I'm in object mode and I have the floor selected we'll go UV and we're going to do plane art ok and that will make it look worse first of all probably because we've mapped it across the X axis which is causing lots of stretching so what we will do is sort that out so we're just going to go back into object mode and select our floor then we'll go to UV and we're going to click on the little box this time next to plane art so that we can change the settings now we're going to get it right so we're going to choose to project from the Y axis and this is really important make sure that you have keep image width and height ratio selected it's very rare that I turn that off so make sure that you have that selected and then click on project and you'll see that now we have projected our UVs as we want to whilst we currently have that projection done you can see that in my attribute editor if yours isn't open press control and A we can change the rotation angle so I'm just going to rotate that by 90 degrees type that number in and press enter and that's flipped the projection around and now what I want to do is just get this to tile a little bit so repeat the texture and there are a number of ways that we can do this but for now I want to do this in the hyper shade so I'm just going to go back into object mode here and then into my hyper shade I'll just bring this back make sure I can see the ground and what I want to do is make sure that I have my floor 2 material available so what I'm going to do just in case you can't still see or so I can see all my material here but let's say for some reason you can't what you do to bring that shading network back is you right click and hold on the material and choose to graph the network and that will show up everything within that and what we want to do is tell each of these textures to repeat and in order to do that we're going to use these place 2D texture now so if we select one you'll see that it brings up the options for it and we're going to change the repeat UV to maybe 3 by 3 and you won't see much change yet because we've got to change all of them so then we're going to do the roughness and we'll make that 3 by 3 as well and it'll really come together when we change this depth one here the normal map so let's make this 3 by 3 as well 3 and 3 and now you'll see that the tiles look much smaller this is a nicer preview everything's good so we've now used UV placement to change the appearance of our floor material if you want to you can also have a quick render look at it now to see how it's coming out but what I'm going to do is move over to the next step where we're going to create the material that we'll put on the walls so I'll see you there in this step we're going to get the material made for the wall so we've already made a material like this with the floor so we can go through the first part of this quickly and then we're just going to make it tile on the walls in a slightly different way we're going to create some UVs for this wall you'll see what I mean by that very soon so let's start with creating our new material then in the hyper shade if you haven't done it already make sure you clear your work area then it'll be a new AI standard surface we're going to give it a name so I'm going to call it M underscore wall I'm going to choose the clay preset again and then we need to load in the color so we'll click on the checker button go to the file node and then under image name we need to find that texture so we'll click on the folder icon and then in the source images folder you should have the T underscore wall textures and we'll start with D which is the diffuse there it is that's our wall texture so we'll click on open and we will see that I made a mistake so instead of clicking on the checker button next to color I did it on weight and that's why I didn't get the result that I would expect so let's fix that because that's wrong so I'm just going to right click here and break connection that will return that to normal and then because I've already got it set up over here I can just take the out color and drop that into base color there and that's done the same effect next then we are going to load in our roughness so let's see if I can click in the right place this time so checker button next to roughness under specular there we go and then choose file click on the folder icon and we're going to make sure that we choose wall underscore R for our texture that takes care of that and then finally we're going to go down a little bit choose the bump mapping click on the checker button tell it we want to file make sure we change users to tangent space normals and then for the bump value we'll click on here and then image name let's select wall underscore N for normal and there we go looks a little bit extreme in this view but that's just the way it's lit if we were to change this to preview in Arnold you can see that it gives a much more subtle effect so let's just change that back to hardware for now so with that material done what we're going to do is drop it onto our two walls so I'll just do the middle mouse method for that and you'll see that if I drop it onto this one over here the blocks are too big but it largely makes sense on this wall over here though let's just drop it onto there oh my goodness what is that mess that is because we extruded to create the window earlier so there's no UV information for this part of the shape so Maya's just kind of making up and it's not going well okay we need some UV mapping to sort that out let's just minimize our hyper shade for a sec and then we need to sort it out we'll do the easy one first so we're going to do another planar projection because we need it to make sense on here so what I'm going to do is have a look down here and you can see that Z is the direction that's going through that wall and that's which direction we need to choose for our planar projection whichever axis goes through it is the one to choose so we'll go to UV, planar click on the little box and it's going to be the Z axis make sure keep image width and height ratio is selected and then project then don't do anything else you can see that it already looks better but this manipulator is the thing that I really want now because this allows us to tile it even further so if I click on the top corner I can then make this smaller until I'm sort of happy with the size of the blocks and I'm kind of happy with them at about that size now if I put it into object mode we can zoom in and see that that's looking good it's also looking good on the back not that we'll see that but I do want to show you there's a place that it doesn't look right on the top and the sides and that's because these have also been mapped on the Z axis this one really needed the X axis because we're never going to see these sides though I'm not going to fix it but just so that you know why that's a problem I thought I would point it out and then we need to do the same with this wall but we need to project on a different axis it's X that goes through this one so let's go to UV planar click on the little box, change it to the X axis and see that that gives us a better result and then we're just going to scale this down so it's about the same size as our other wall into object mode and now as we sort of change the angle you can see that that looks kind of nice it's coming together ok so again at this stage you might just want to flick on a quick Arnold render just to see how the wall looks in the proper view in the next step then we're going to create and assign our material for the corks it's not going to be anything new in terms of material creation but we are going to take a look at cylindrical UV mapping to get it around the outside of the corks so I'll see you there where we'll do a bit more UV mapping in this step then we will make a material for our corks that are currently sitting in the flasks on the table and we're going to use that as a way to introduce cylindrical mapping for UVing so we are going to go into our hyper shade first of all and we'll make a new AI standard surface let's give it a name M underscore cut should suffice because this is going to be another matte material we will probably choose clay because there's nothing else really close to what I want and then I'm going to load in the colour so as you can see now I'm starting to put more of my textures into this folder and I'll just repeat again if you want access to all of the textures that I'm using you can get them using the link in the description below the video that will give you access to my project file and then all you need to do is go into my source images folder copy all of the textures and then paste them into your source images folder ok so I'm going to go for the diffuse on the cork lovely then let's get the roughness loaded in and that's going to be the R lovely and then we just need the normal map and that should add the lovely look to it so I'm just going to load this and again make sure we choose tangent space normals loading the file and cork normal ok and now what we want to do is assign this to our corks so you might find it a little bit easier to see if you just go back into shaded mode for this or maybe even wireframe mode and then we're going to select both of our corks and just do shift select like that and then what I'll do is for this one I'm going to do right click on there and assign material to selection and now I can press 6 back in here and I will see my corks lovely job ok let's UV map them so you can see they're not quite spot on in the way that I would hope that they would be and I think what I'm going to do is just work on one cork at a time so we'll select this one first and then I'm going to go to display hide, hide unselected objects and that will just isolate this cork for me so that nothing else gets in the way so you can see the top and bottom actually aren't bad but going around the side not really what I'm looking for so what I want to do is just right click on this we're going to face mode and I'm going to use marquee selection to select all of those faces going around now what I also want to do is right here on the bottom and this ring here I also want to select because I think they're part of the side or they look like they are to me and I could just select them manually or I could double click on the loop but what I'm going to do instead is hold shift on my keyboard and press full stop which is greater than and that will just add to the selection around my current selection so that added that band there ok we're now ready to UV map this so we're going to go to UV and we will click on the little options box but there's actually not much there to choose click on project and that straight away is looking quite nice that's much closer to what I'm going for so at this stage I can go into object mode and have a look at it so that is actually passable as it is but you can see that there's a difference in the size of the texture on the side and the top in what we call the texel density it's a lot more dense on the sides than it is on the top to remedy that then we're going to go into our UV editor so we'll get it from that menu there we are going to go to UV shell mode so I'm just going to right click in here go to UV shell each one of these pieces so we've got the top and the bottom and going around the side these are all called UV shells I'm going to select all of them by getting a marquee selection so I've also got my UV toolkit here as well if you can't see this don't worry you can just go to tools in your UV editor and you can click here so currently for me it will hide it or I can show it once the shell selected we're going to go to arrange and layout and we're going to click on layout and what this does is keeps the texel density consistent so this will be our top because it's slightly bigger than our bottom and here is the side so now if I just close these windows you should be able to see that now the size looks really consistent with that done then I'm now going to bring everything back with display show all in fact we can do display show last hidden which will bring back everything and that cork is done so I'm not going to repeat that process you can just rewind the video if you need to but I want you to sort your UV mapping out on your other cork and then we can get ready to move on to the next step in that one we're going to be creating our material for the window frame and the window sill and we'll also be using an automatic UV projection to get the UVs on that one sorted out so I will see you in the next step with sorted UVs on this cork don't forget it see you in the next step where we'll do a bit more materials and UVing in this step we're going to take a look at how you properly do automatic UV mapping which can be really useful to get your textures looking right pretty quickly so assuming that you've got your corks looking bang on from the previous step we're now ready to turn our attention to the window so we need to get our texture looking good on here when we do that we need to make the material for it so we're going to go into our hyper shade for that, make sure you've cleared your workspace and we'll create ourselves a brand new AI standard surface we'll give it a name so I'm just going to call this one wood I think so M underscore wood because I think I'm going to use it on the pillars as well and then we need to start with a clay preset and then we'll bring in our textures so we'll bring in the color so I'm going to use T underscore wood for that and then we need to bring in our roughness so that's going to be a file again and we're going to use T underscore wood roughness for that one now we just need to attach our normal map so we'll go to bump mapping click on the checker button tell it you want to attach a file and then we're going to say we want tangent space normals click on the bump value here choose a file and that's going to be T underscore wood underscore N for normal, there we go that's doing what we want it to and now we'll apply that completed wood material to all the pieces over here that are made of wood so those are three pieces okay so we're done with the habit shade for now so we'll get it out of the way and now we need to sort out the UV mapping so in my case lots of the wood grain is at least running in the correct direction but not all of it you can see we've got problems on this one here with some extreme stretching so we're going to sort this out hopefully with some automatic UV unwrapping we're going to start with this bottom piece here and before you do an automatic UV unwrap you need to get rid of these transforms here I'll show you why, if I do an automatic UV unwrap now and I'll show what that looks like in the UV editor everything's pretty much square but if you look at our object it's much longer than that so what we'll do is we're going to click on that and we're going to go to modify freeze transformations and that gets rid of all the transforms from it and now we're going to do our automatic projection let's pop it into object mode to see how it came out so I can see that I've got wood grain pretty much running in the wrong direction now so that's something that I'm going to have to fix and I'm going to do that in the UV editor so you can see that here's the main ones that I'm concerned with at the moment so I'm going to go into shell mode and select one I'm going to press E on my keyboard to turn on my rotate tool and then whilst holding J and that will turn rotation snapping on I'm going to rotate it 90 degrees like so what I'm going to do for the next one is I'll select this one and instead of using the rotate tool I can go into transform for this one and just choose to rotate it 90 degrees there and I'll do the same for these two as well so you've got different options now at the moment they're overlapping which is not ideal but it will be fine when I'm done I just need to get them oriented the right way for now so now let's have a look at how that's coming out so the wood grain is too big and that's a scaling issue with my UV which I'll fix later but the wood grain is definitely running the right way I'm not too worried about the end pieces next we'll do this piece in the middle so let's get rid of these transforms so we'll do modify freeze transformations and then we're going to put on our automatic UV see how that's come out not bad that might be something that I come back to later and we're going to end with this piece here so let's get rid of our transforms so modify freeze transformations I'm also going to delete the history from this one delete by type history and then we'll do our automatic UVing on it see how that came out not too bad you can see the main issue I'm having is the text identities all off so we'll see if we can go about sorting that out so what I'm going to do is select all three pieces and go into my UV editor not that that's working let's try again so one two three so here are all my UV shells and I want to get these laid out so what I'm going to do for this is I'll just close my transform here make sure that I'm in shell mode select all the shells that are there and we'll lay them out this now keeps them in scale relative to one another and what I'm going to do from here is just turn my scale tool on and I'm going to make them much bigger and that's going to make the grain look smaller in turn it's also going to tile them let's try that so if we go into object mode here yeah that doesn't look too bad try and get the lighting from a nicer angle that's better so that for me will do there are better ways of UV mapping that but as I wanted you to get comfortable with automatic UV mapping that's how I decided to do it for that piece if I was doing this for real I'd have used a combination of probably automatic unwrapping and some planar projection as well in the next step then we're going to just up the complexity of UV mapping one more time and we're going to do that on some parts of the table so that might end up being a slightly longer step but we'll then save some time because after that we're going to look at how you can duplicate UV maps so you don't have to do it for every piece of the table ok then I will see you in the next step for some more materials and UV mapping in this step we're going to step up the complexity of UV mapping a little bit and we're going to concentrate primarily on two pieces of the table that piece there and that piece there and this time we're going to do the UV mapping first and then we'll add the material at the end and make any changes if we need to although we shouldn't need to so let's begin by mapping out one of these planks it doesn't really matter which one you choose but we only need one so select one and then we're going to hide everything else so we'll go to display hide hide unselected objects so we've just kind of given ourselves this to work on what we're going to do first of all is map the longer edges and that's because these are the ones that we'll see the most of the first thing we'll do is just pop this into face mode and we're going to select the top face and then we'll swing around to the bottom hold shift and select the bottom face so we've got top and bottom selected if you can cast your mind back far enough we also did a bevel on these and we want to have these part of the first part of our projection so I'm going to hold shift and full stop which is greater than and that will select the beveled edges around the top and the bottom and that's going to give us what we need for our first projection so what we're going to do for this now is go to UV in fact whilst we're doing some more complex UV mapping what I'm going to suggest is that we move into the UV mapping workspace so let's just go to the drop down here we've been in modelling all this time let's now go to UV editing so what this does is it gives us our perspective view over here we've got our UV editor here and the UV toolkit so everything that we need kind of at a glance which is nice so let's start by getting our first faces UV map so we're going to go to UV we're going to choose planar and we need to make sure that we're doing the y-axis and that keep the image width and height ratio is turned on and then we'll click on project that will give us our two faces done what I'll then do is just rotate those around so let's go into transform and we'll rotate them 90 degrees it doesn't matter which way around we do them and I'm just going to move these off to the side for now perfect now what we need to do is select the side pieces so that side there and that side there and these are going to be seen the least so they're not as important but I still want to get them right if I can so we're going to map these on the Z axis so let's go to UV planar and change the project from to Z and project and we're just going to rotate these 90 degrees as well lovely and we'll move those off to the side so I'm just pressing W to switch to our move tool and that just leaves a few pieces so we need the end piece and the two pieces to the side of the end there and then we'll just switch around and do the same here so the end piece I'm holding shift to get all of them that piece there and that piece there keep in mind that whilst we're in face mode we also could have just done this to select them all as well there you go and these ones we're going to project on the X axis so let's go to UV, planar and X project this gives us all of our pieces now what I want to do is try and line these up before I can do that I'm just going to go into UV shell mode select them to my move tool and I'm just going to move them like this and you can see that we've got pieces on top of other pieces that's fine and normal that should have happened so now we should be looking at one two three four five six UV shells now that we've not got them overlapped the next problem that we have to solve is that half of these are facing the wrong way and we can check that by using this tool here when I click that you'll notice that some are blue and some are red red is telling us that the UV is facing the wrong way so it's flipped over and we need to flip it back in order to do that just click on one of your shells and in the transform section of your UV toolkit just click on flip and that'll flip it around and it'll go blue at this stage you could be done it would be a bad idea to finish here though because your text or density is going to be inconsistent these end pieces are much bigger than they should be they should only be about as wide as that before we can make the change though I just want to check something because we don't want this to go wrong so I'm going to press control and a a couple of times and that will open my channel box and I can see that I've got some transforms on this shape and I want to get rid of those before I attempt the layout otherwise I'll get results I don't really want so let's just do modify for your transformations there you go you can see they're all going to close my channel box for now and then into shell mode here get my UV toolkit back and now if I click on layout which is just down at the bottom under arranging layout everything goes the right size and shape in relation to one another I'm now going to suggest just one more change and it's called stitching if you think of these as like fabric to get the wood grain on these to look consistent as it wraps around what I'm going to do is just go into edge mode and if you see as I'm mousing around with my edges often two edges you can see I've got two red edges there two edges there this is my intelligence that these can be stitched together so what I'll do is I'll start here and just click on that edge there and then I'm going to go into cut and sew and then I'm just going to click on stitch together you can see that now has created one shell out of those I'm going to go onto here as well and we'll just stitch that together and then I'm going to go up at the top there and stitch together and that's added that I'll do the same here on the bottom stitch together and one final piece to add on click on there and stitch together and what I've done now is created one UV shell out of all those pieces which means the wood grain is going to wrap around and make sense in most places there will be some seams where it can't be joined up but I'll get fewer seams because I've done it this way so I'll just do one last layout to make sure that it fits in this square and that is perfectly UV'd one last thing to check I'm just going to turn on this here which is the checker map I'm going to go into object mode and if I can see that everything on here is squares and not rectangles that means I've got a good UV map and that to me looks like a good UV map that looks like all squares so I'll turn that checker map off there's one other thing you could do if I just click on here if you see any red when you turn this tool on that means you've got some UV distortion you can see there's no red in there for me it's quite happy with it okay so that's our first piece UV mapped, I'm very very happy with that if yours looks like that you should be happy too we'll just need to do the other piece of the table as well so let's go to display, show and we'll just show last hidden and now we're going to select on this piece you can see this does not look as it should then we'll just hide everything else display hide objects the easiest place to start with this one let's go into face mode and we'll click on this bottom edge here and then I'm going to hold shift and double click up at the top and that will select all of this front edge then I'll swing around and do the same on the back holding shift still, click on the bottom up to the top double click, so now I've got front and back selected we also have this bevel here which I would like to be a part of this selection shift and full stop trick to get that selected there we go and now what I would like to do is get a planar projection and I can see I'm looking through the x axis so let's do that planar x axis project and that gives me that UV there so I'll move that off to the side and now I've just got these edges to work with now luckily I know that I'm not going to be able to see the top or the bottom so I don't need to worry too much about those what I'll do instead is click on this bottom edge here and double click on the top edge there then I'll do the same shift click there and double click there so you can see that I've got the two sides there selected and I'm going to choose to just do a planar projection on the z axis for these so let's do planar z project and then I'll do more pieces that I can move off to the side and then I'm just going to go into face mode here select these two and I'll just do these on the y axis so that they don't, it doesn't really matter because I won't be able to see them but I might as well do them okay my next job is to make sure that I don't have pieces overlapping anymore so we're going to shell mode I'll select them one shell at a time and make sure that they're not overlapping there we go that gives me now six pieces then I'll click up here to see which ones are the wrong way around and I'll flip them flip flip and flip and now to show you something you can see now where the distortion is on these some of the distortion is not too bad and makes sense like on these sides because I know that they're alright but where I don't like the distortion as much is here not a big fan of that at all so I'm going to do shells I'm going to select them let's just minimise some of these sections a bit I'm going to unfold and click on optimise here's the result that gives me so now I'll just click on them one at a time and click on straighten UVs and that will get them nicely lined up again and now this checkerboard pattern is going to be really important to me because I can see that on here these are rectangles so I'm going to select both the shells so that I get them symmetrical change the scale tool and then I'm going to just scale them up and I'm watching here to make sure that these become mostly squares and I won't get it exactly right but I'll get it close so I can see now that as I look at this most of that is now squares it's certainly much closer than it was so everything else is squares I'm happy with that I'm going to go into textual density consistent so I'm now going to go into shell mode I need to check that I've got no transforms on this so let's get our outliner open that doesn't really give anything away so I'm not going to risk it I'll just pop it into object mode I'm going to do free transformations and edit delete by type history now that I've done that let's try this again see if it goes any better it has gone better so that optimization has worked much better now so let's just now straighten our UVs and let's lay it all out into shell mode select all of the shells arrange a layout and click on layout I'm happy with that the wood grain is going to open now so that should work out okay so let's go back into object mode I'm just going to turn off the checkerboard pattern we're going to go to bring everything else back display shell last hidden and now with these two pieces selected I'm going to do one more layout to get the textual density to be consistent so let's just do a layout so these one now if I turn on the checker pattern the square should be the same size they absolutely are so that means that the wood grain will look like it all came from the same type of wood okay we can turn the checker pattern off so our UV mapping of those two objects is complete and it's bloody good let me tell you that is some good UV mapping right there so let's build our material and add it we'll do that nice and quickly so into we'll just go back into our modelling workspace and now let's go into our hypershade clear the graph and we will make ourselves a new AI standard surface give it a name M underscore table will do for me I'm going to use the clay preset and then we'll load in the colour so you can see I've got a table texture already named so we'll click on open for that and then what we'll do is go to add the roughness so let's go to file click on the type of file we want and it's going to be table roughness ooh nice and finally let's add our beautiful normal map into geometry click on the checker button for bump mapping choose a file make sure we're on tangents based normals click on the little arrow next to bump value click on the folder and let's bring in our table normal map yeah okay we're going to add that to that piece there and that piece there and let's have a closer look at it okay I think the table grain might be showing up as too big I'm going to check it in Arnold just to make sure that it looks too big actually I take it back that to me looks okay so I'm not going to make any more changes to those UV maps I think that will work perfectly right then that's going to do it for this step it was a bit of a long one but you are now pretty good at UV mapping I promise you that in the next step rather than UV map all the other planks and this piece over here what we're going to do instead is we're going to duplicate the UV maps from the pieces we've already done onto these new pieces which can be a really good time saver so I will see you in the next step for some UV map duplication in this step we are going to take the UV maps that we created for this plank here and this table leg and we're going to copy them over to duplicates of those objects that don't have UV maps yet I'm going to do that with something called transfer attributes which is a useful little tool so obviously what I could do if I wanted to just get four more pieces of table that already had this texture on and UVs I could just duplicate this so if I was just to do control D and duplicate it so that I've got another one so I could do it that way and that would be fine but because I've already got these copies here and they're in place I'd like to just be able to duplicate the UV positions over so that's what we'll do in this step so what we need to do is click on the one that we want to copy from which is this one and then shift click on one that we want to copy to then what I'm going to do is just open up the UV editor so that I can turn on the checkerboard pattern so that shows me that this one has the UVs I want but this one does not yet have those UVs so I'll know straight away if it's worked and then we're going to go into mesh transfer attributes and click on the options box so I'll just make sure that I've got this reset so that I've got the same settings as you and you can see that UV sets are currently set to all so it will copy over any UV sets that we currently have which is good and then if we were just to try and do this straight away so if I just click on apply you can see that it does something in it right and that's because we need to change it from world to component for it to work so now if I click on apply you can see that these now have identical UVs so now I can click on this one and shift click on this one and click apply again click, shift click apply, shift shift click, oh not you and apply and that now means that these all have proper UVs all I need to do now is the same for this table leg over to here so you can see that those UVs are all kinds of wrong so let's apply that and we're good to go before we finish this step off we will just turn off that God awful checkerboard pattern there we go and we will assign the wooden material to the remaining pieces as we are not currently in the hyper shade I'll show you a way of doing this so with these selected I'm going to right click I can choose assign existing material and you'll see all my materials are listed here and I'm going to choose m underscore table and that will make everything else look as good as the first pieces did next up then we're going to have a look at this scroll and get the texture on that and we'll complete the texturing and UVing section by finishing off the books so I'll see you in the next step for the scroll in this step we're going to set about creating a material for the scroll and getting it placed precisely which is quite important for this particular material the first thing we need to do then is to make the material so let's get our hyper shade open make sure we have a clear workspace and then let's go for an AI standard surface we're going to use the clay preset again and then we need to load in the textures for it so remember if you want to use my textures then you can get them using the link in the video description below that will give you access to my project file if you go into my source images folder you'll be able to see all these textures just copy them into your source images folder and you'll be ready to go so I'm going to load in scroll underscore diffuse which will give us the color there you go let me just put that back on the sphere so you can see there is some white on the top and bottom of this which is why UV placement matters so much and then we're going to load in the roughness for it it's going to be a file as well scroll roughness and finally we will load in our normal map so that's a file don't forget to set it to tangents based normals and then I'm going to load in the bump value which is going to be our normal map for the scroll now that's complete then I'm going to drop it on the scroll oh actually I don't think I've named it yet there we go M underscore scroll and then I'm going to drop it onto my scroll but it won't look like it's on there you see the color change slightly what has happened is it's showing this part of the material not this part so we're done with the hypershade for now and we need to look at why this is not showing our material so we'll drop back into our UV editing workspace and when we click on our scroll you'll see that nothing has actually come up here and that's because the way we created this scroll which was using curves and nerbs means that there are no UVs at all we need to create some from scratch to do that then we're just going to start with an automatic projection which will give us that you can see that's given us loads of pieces let me just shade that loads and loads of pieces that's not useful so what we're going to do is go into edge mode and we'll select every edge in there and then I'm just going to get it from my cut and sew menu up here in my UV editor I'm going to click on move and sew there we go and we can see that that has actually stitched it together and opened it out like a big piece of paper what I'm going to do then is just get hold of this UV shell and try and get it so that it's the right size and for me I already know that it's not going to be because I've rehearsed this step to see what my problems are going to be and I'll just make sure that it all fits within the boundaries which it does that's pretty good Shane nice one so I'll just go back into object mode over here and let's have a look at how this is coming out so it's a little bit stretched that should really be circular and the problem I've got is that if I go into shell mode and I scale it so that this is going to be circular which is about there the edges have come off which means I'm probably going to get object mode I'm probably going to get like a white bit somewhere there it is so I've got to do this slightly differently so the way I'm going to go about it is I'm going to go into face mode and I'm just going to select this middle strip of faces here let's try that again this middle strip of faces and then I'm going to do shift and full stop to get a larger selection than that which is this so this is what I want to have the writing drawings on it to make sure that I get that then what I'm going to do is just do a UV projection do a plane I want on the Y axis make sure width and height ratio is turned on and that now is going to create a new shell for me which I'm going to have to rotate I don't want to get this perfectly straight I don't need to get it perfectly straight just close will do I'm going to scale this down get it to be the right height like so and then I'm just going to go into shell mode these two shells here I'm going to move off to the side for now they're fine I don't need to do anything else with them but I've got to be happy with this one before I move on which I think I'm about to be so that's good I'm happy with that what I need to do now is bring this shell back in and make it fit in the remaining space of the scroll so you can see it's too fat so let's just scale it on this axis to make sure it fits within there that's good fairly close to the edge of my other shell and then this shell here I'm going to bring in as well I'm going to make that thinner like so and then to avoid getting any issues I think if I go into object mode and now look I might actually be getting away with it already but I want to avoid there being any seams here and the way I'll do that is by going into edge mode I'm going to double click on the top edge and I'm doing it on my middle shell I'll click once sorry I'll click once on the top edge and then go down to the bottom hold shift and double click on the bottom edge and then I'm going to go into cut and sew of my UV toolkit and choose stitch together and I'll do the same on the other side stitch together and that now is a completed UV map so let's go into object mode and that's going to look terrific okay we can just turn that colored view off so that now is our scroll with some very kind of old school wizardy looking right on it and some runic image and whatever this guy is that's ready to go so we've got one more step in texturing and UV mapping which is going to be for we'll do one of the books and I'll let you guys do the rest yourself but that's going to be how we can assign two different materials to one object that's what we'll be looking at in that step so I will see you step for some book action in this step we are going to UV map and create materials for one of the books and we are going to assign two different materials to this we don't technically have to but I've created the textures in such a way that allow us to cover how to assign two different materials to one polygon object so the first thing we'll do is get the scene looking as clean as possible to work with so I'm just going to work on the most easily accessible book which in my case is that one I'll then hide everything else with display hide, hide on selected objects and I'll then switch into my UV in workspace so let's go to UV editing here's the UV map we're starting with let's see if we can get this to be something a little better this is as complex as we're going to go with the UV mapping in this tutorial so before we do anything let's first make sure that we have frozen transformations and deleted the history delete by type and then we're going to do an automatic projection to get us started so UV automatic that'll give us these pieces here, not a bad start then I'm going to go into shell mode and straighten some of these up so let's select everything and then in my UV toolkit I'm going to go into arrange and layout click on that and then I'm going to click on orient shells and that'll just straighten everything up which is going to make it a little bit easier to work with then just to make sure that everything is working to the same scale to make it easier to sew the parts together I'm going to click on layout everything now should be the same sort of size and I've got a particular way that I want to be able to stitch this book back together I want it to be in three shells and then they're going to line up with the textures we have for it so it's important that you get as close to mine as possible for this so we're going to start with this shell here and I'll just move this off to the side and see what I'm working with so I've got that edge piece there that makes sense what I really want to do is make sure that I join this edge here so I'm going to go into edge mode over here click on that and then in cut and sew I'm just going to click on stitch together and that's going to mean that that is now part of this face here you can see it's part of that shell I don't want the underside since that's going to be in a different place but I do want that edge there then we can go to edge mode again and select this edge here and we're going to stitch this together that's going to bring in part of the spine and see we've got some more spine here so we're going to stitch that together and now that's starting to be almost one complete cover let's just click here and I've got this edge piece there so I'm going to grab that with stitch together and then into shell mode and just move the whole shell over here that's good I'm happy with that the next bit that I want to do is get hold of these two pieces just move these over here so you can see them and these represent this top and bottom of the book there they are and I would like them to be part of this shell which is going to be a little bit weird but you'll see how I'll do it and it should come together quite nicely so I'm going to go back into edge mode and I'm going to select this edge here not the little one, start with the big one hold shift and double click there and that's allowing me to get all that top edge and then I'm going to click on stitch together you'll see what that does is it adds that UV shell over here it sticks together but it's created a mess so we're going to go into shell mode to correct this so click on that and then we're going to do an unfold on it so we're going to the unfold section and just click on unfold and you'll see that that goes pretty close to how it was so then what I'm going to do is just click on straighten UVs and that will straighten it all back out again but with that top band connected and then we'll just do the same on the bottom so back into edge mode click there, hold shift click there stitch together get the whole shell and do an unfold on it that gets us pretty close and then we'll straighten the UVs and that is one complete shell that's the outer side of the book cover the next shell I'm going to try and put together is the pages for the book so this should be kind of easy so all I need to do is go into edge mode I can see this is the front of the book here and I'm going to select this edge here hold shift double click here to get the whole edge and we'll do a stitch together and it's gone at a funny angle but it has stitched it together in the way that I wanted it to so I'm also going to do that over here, stitch together and then we're going to shell mode and see if we can orient this shell so let's go orient shells yeah, that's okay, I actually didn't want it pointing that way so I'm just going to put my rotate tool J and rotate that around 90 degrees okay, that's two shells and the final thing I want to do is make one shell out of the remaining pieces so to do that I'm going to go into edge mode, I'm going to click on that little edge there and this little edge here and we'll do a stitch together and you'll see that brings in those edge pieces that were previously down here and then we'll click on the edge there and the edge there and we'll stitch together again pretty nice, so let's go into shell mode and I'm just going to straighten the UVs because they were a bit wobbly and that's it, we've got three pretty damn nice shells there so that is pretty much all of UV mapping in a nutshell if you can do this, you can UV map anything, I promise okay, so let's select all of our shells we will do a layout to get them in what's called our 0 to 1 space and we can leave that alone for now until we get the material made and then we'll come back into the UV mode and we'll get this placed properly so I'm going to go into my modelling standard view for now and just pop this back into object mode and I'll need my hyper shade open to create my materials so it's pretty much the same as we've done so far what I'm going to do is clear my graph I'm going to make a new AI standard surface I'm going to call this one m underscore book cover and I'm not going to start with a preset this time just to show you that you don't have to so I'm going to bring in my colour click on the checker pattern there choose file and then go to the folder and I want the T book cover diffuse, it looks like this this is one I made specially for this project so let's click on open and that's how it looks, you can see that's got the front cover there and then what I'm going to do just on this, the weight is set to 0.8 for some reason and I want to push that up to kind of phage the colour out a little bit let's push that all the way up to 1 to make sure that we get another colour that we should this material is slightly different to the ones we built so far in that some elements of this have a metallic property to it so we need to add a metal texture as well so let's click on the checker pattern there go to file, click on the image name I'm going to choose T book cover underscore m which is the metallic one you can see if it's in black it's saying don't be metallic if it's in white it's saying that it should be metallic open that, there we go next up we need our roughness so let's click on the checker pattern there go to file and choose our image which is going to be book cover underscore r nice and last but by no means least we're going to go into geometry click on the bump mapping checker button choose a file make sure that it's tangent space normals and then for the bump value we are going to add our book cover n ok so it might look a little bit weird in here but it should look fine once we get it on the book so let's just press 6 in here because I've for some reason got my texture view turned off and with this new material I'm just going to drag it onto the book and I'm putting it on the whole book here ok so that's that bit done what we'll do now is we'll sort the UV mapping out for that bit and then we'll go back around and we'll do the pages so let's just minimize our hypershade for now ok this here is the top of the book but it's got the back cover on that's something we need to be aware of ok let's go into UV editing click on the book so you can see that if your UV map went like mine lots of this is going to already be close so I'm just going to go into shell mode move the pages out of the way and then this is the book cover but because this front cover is not here that tells me this shell is upside down so I'm going to just rotate this around 90 degrees so I put my rotate tool on and rotate that around and that now has put the front cover let's put it into object mode so you can see the front cover is now at least in the right place the next thing that we need to do is to just line up this shell with the material so I'm just going to go into shell mode and you can see that this here should be in the center of the spine and then the whole shell needs to just come in a little bit and be moved up a little bit as well so I'm using these metallic edges to help me line it up needs to be a touch smaller I think so I think I've got that one set up right let's just have a little look ok now what we need to do is get this inner section this is like the inner paper part so into shell mode and this needs to be kind of placed in the same way so we've got these like L shapes here and that's showing me where to line this up to so let's just bring the size down a bit and maybe just make it a touch wider so this is what you're looking for try to avoid getting these bits here where it kind of goes in lines this is what's called dilation and it came from the texturing program that I used you should try to avoid that getting into the material so I'm going to bring that into about there and then I think I'm going to have to go into edge mode just to straighten these up a little bit in fact I need to go into UV mode this material wasn't made specifically for this exact book so it will just take a little bit of moving it around to get it to fit exactly how I want it to as long as I select these groups of UVs at the corners you can see that it makes it much easier to edit the placement of them I think that should do it that's the cover sorted all we need to do now is the pages so let's go back into our hyper shade and make that material so we'll clear our graph we'll have a new AI standard surface again I'm not going to use a preset for this one but I am going to give it a name we'll call this m underscore pages and let's load in our textures so oh no wait wait wait wait wait clicked on the wrong thing let's break that connection colour is what I wanted file and we're going to go for what's this one called t underscore pages diffuse lovely and then we're going to do the roughness there's no metallic for this one because the pages aren't metallic so we'll go for roughness next and that's going to be t underscore pages are and let's end with finding our geometry bump mapping file tangent space go to the bump value and choose our file pages underscore n okay that material is now ready to go now what we need to do is only apply it to where we want the pages to be so I'm just going to make this window a little bit bigger and here's what we're going to do we're going to put the book into face mode and we're going to select all the faces that make up the pages so there's two there and then three more there and then I need to start click here and double click on the bottom to get all of those come around to this side I'm holding shift to make sure I'm adding to my selection and then that has got all of the pieces that are going to make up the pages so now what we do is we find our m underscore pages material we right click and hold and assign material to selection so this book has now got two different materials on it which is great okay let's come out of the hypershade for a second get the book in abject mode and you can see that it's currently showing us the pages material which is helpful and you can change which material it shows you by going into here so if we wanted to go back to book cover we could do that but we want to see the pages and then into shell mode and we're going to move this shell so this central piece here you should see the pages running up and down that's what we're aiming for so I'm going to move it over I can see that it's probably a bit too big so let's just size it down a little bit that looks nice back into object mode and check out the book here my texture is showing a little bit lower resolution because I've changed the setting let's just go back into general modeling hide the hypershade and I'll try and show you what I've done with this setting as well just while we're looking at it so as we're adding more and more textures to this scene you can start to run out a video memory it's possible that you've already had a warning about this if not here's what I'm doing so if I go into renderer and viewport 2.0 is what you should be using click on this box here there's something called max texture resolution and I'm currently clamping it at 512 to make sure that I don't run out a VRAM you can however open that so let's go to 1024 and then reload all textures you can see that now my pages came in higher quality so I'm just trying to save a little bit of VRAM so that my pc doesn't die so we'll just have a quick look at how this texture is coming out the thing about viewport 2.0 is it doesn't show off normal maps very nicely you get all these horrible black yakkiness on it so if we just go to Arnold and we click on play we'll get a better idea of how this is going to render but if there was the light showing in the scene so let's just bring everything back display show last hidden and then we'll try that one more time there we go so as that renders you can see that despite the fact that in the viewport the normal map looks overly harsh once you get into the rendered view which is what we're really aiming for everything looks beautiful ok so that was a fairly complicated step but I think you've come through it well I believed in you all the way through that what we'll do now is we will end this step and we'll move on to the next step which is going to be your materials and UV mapping challenge so I will see you in the next video where you can be challenged welcome to challenge number 4 as you can see by what I've got on screen I have gone on and textured everything else in my scene so if you have a look in the images folder you'll see that I created a couple of color variations for the book which you can create and apply it doesn't really look like it from here but I've added a stone material to my additional model I've also UV mapped and textured the pillars along the wall and let's just switch back to the viewport I've also added a material to this so this is now completely textured and ready to go so that now is your challenge so if you have a look through and UV mapping texture everything else in your scene you might need to find or make some textures yourself or just use what you've got and then when you are done I will see you in the next step where we're going to make a start on lighting and rendering which is when things are really going to start looking sexy so I look forward to seeing you in the next step good luck with the rest of the texturing welcome back hopefully you did okay with the last challenge let's get started if that's the case then it means that you're now ready to start adding lights to your scene and to start thinking about our final render and how it's going to come together in this step we're going to add our first light which is just going to be a directional light and what that means is that you will get light that just flows in one direction throughout your entire scene it's really good for mimicking something like sunlight or moonlight which is what I'm going to be going for with my first attempt so what I'm going to do then before I add any lights to the scene is I'm just going to click out here because I've still got this sky dome light that I added a long time ago just so that we could do some preview renders as we were putting things in I want to get rid of that now because that's not going to be our main scene light at least not whilst we're going through the different types of lights let's create this directional light then so we're going to go up to create into lights and there you can see there is a directional light what looks like some arrows created at the origin of our scene so I'm just going to move that up out of the ground and you can see that at the moment the arrows are pointing over here kind of out of the room now that you've got a light in there we're going to need to turn that on so that we can see what's happening so up here you can click on this icon which will turn on your lights it's called use all lights or you can just press 7 on your keyboard so 6 will turn your lights back off 7 will turn them on and now with my rotate tool I'm going to rotate my light around I want it to look like it's going to be shining through this window and then we're going to have the angle come down a little bit yeah that's a pretty nice angle so that gets us started what you can also do with lights is change the colour of them so over here in my attribute editor if your attribute editor is not open just keep pressing ctrl and a until it pops up there's a colour swatch we'll give that a click I'm going to select mimic moonlight I'm going to choose something in the blue spectrum to start you can see that this is probably too blue so then what I'll do is over here in this little square I'm going to walk that towards white so it's essentially white with a tinge of blue in it something like that that's how I'm going to get started something else that I want us to be able to preview in our viewport is where the shadows are going to fall and up here just next to where we turned lights on for that which is just called shadows if we give that a click you can now see where the light is going to fall and so that tells me where it will be a good idea to rotate the light so I'm going to leave it roughly where it was one cool thing about shadows is it really does help to ground all of your objects in the scene they now look more like they belong there because there are shadows around them one last thing that I want to do then before we move on to the next step is just make sure that we've got shadows turned on that cast shadows is turned on it should be anyway but just double check and that's going to do it for this step then you've now added your first light to your scene and I'm sure it's looking beautiful in the next step then we're going to set up a proper test render to make sure that our light appears in the rendered image in the way that we hope because the viewport doesn't really give you a true reflection of how it's going to look so I will see you in the next step for a bit of rendering this step's going to be all about how we set up Arnold to render the scene in the way that we want our render settings in Maya live here so you've got this icon here just next to the hyper shade it's like a clapperboard with a little gear on it so we'll open that and this is our render settings there are a lot of things that you can change on this and we'll just go through the ones that are important for now so the first thing I want to change because it's the first on the list is color space use output transform is what it's set to and that's using this sRGB gamma at the moment if we turn that off this is actually more in line with what our scene looks like if we were to take it into something like photoshop premiere pro or final cut to work with the image this is what it would look like it doesn't have this transform turned on so I'm now going to start leaving this off and I'm also going to turn it off here by turning that to raw the next thing we'll look at is renderable camera we're not going to put any new cameras in for this tutorial so we'll leave that on persp which is this camera here so we're just using the main perspective camera the next important thing that we'll need to consider is what preset you want to use or you can actually just type in the width and height yourself if you want but I tend to go with the presets this is what resolution you'll be rendering your images at by default in Maya it starts at HD540 and that's not a bad starting point because rendering, especially with Arnold can take a long long time so I would be thinking maybe I want to up this to HD1080 at some point but whilst I'm just getting everything dialed in I'm going to keep that at a lower resolution and it's really going to reduce my render times whilst I'm making changes to lights and materials to get it the way I want so that'll do it for the common properties let's have a look in the Arnold renderer properties the main thing that I'm concerned with here is the camera and the AA so this number is to do with super sampling control the higher the number the cleaner your render will look because it takes more samples but it will also ridiculously increase your render times the higher you make this number for now because we're just doing test renders I'm actually going to lower that down to 2 but we are going to up that for our final render later because that's not going to be very good it will only give us an idea for now and that's all I want to change for now so we'll close that and to do our first render we're going to click on this icon here which is the clapperboard next to the one with the eye render the current frame so let's click on this so once you give that a click this window will pop up and you'll see the image being rendered one tile at a time until you get the whole image so you can see that one light is the one being rendered which is the directional light and shadows are showing up so this is quite a small image but it only took me 13 seconds to render which is why I'm keeping it so small one downside though is that because I'm using this way of rendering it is using this output transform so we can just turn that off to get an idea of how it looks and it tells us that the light is probably not bright enough so we're going to up that and the shadows are actually quite hard and I want them to be a little bit softer so I'll have a look at that as well before we move on to make the light brighter you increase the intensity there's a slider or you can just type a number in I'll just try doubling it for now let's try three times as strong that's better and what we'll also do is just go back into our Arnold settings and we're just going to increase the angle which is going to make the shadows look a little softer so let's just go somewhere kind of towards 5 and see how that looks so let's give that a render again so whilst we've got this output color transform on you can see that I've now managed to soften the shadows which looks better we turn that off I think I want to go just slightly brighter on the light, this should be a dark light because this isn't really our main light the main light will be the candles so this is just light that we want to look like it's coming through the windows so we don't want it to be too bright but we do need it to be a little bit brighter so I'm just going to up that to 4 test again and then if I'm happy with it we'll move on so that's 4, let's render okay so that's done rendering let's turn that off yeah so what this is doing is just sort of filling in the background a little bit of what's going on which is all I'm looking for from this light in the next step then we're going to add a different type of light to act as our candle light and then we will make some tweaks to that to get the scene a bit more evenly lit and making more sense so see you there now it's time to add some more light to our scene to look like the candles are casting light into the room the first thing I'm going to do then because it's quite difficult to see what I'm doing now is just turn it back on just makes things a bit easier to work with you could also press 6 on your keyboard to get the more flat light as well so from the create menu we're going to get a light and this time it's going to be a point light and these act as a point in space that light emits from so light shoots out in all directions in some other applications they're known as omnidirectional lights but if you imagine like a light bulb with light going out in every direction it's that kind of light and that's perfect for a candle flame so let's have our point light and then we need to get it in place so this has to be quite precise so I'm going to do this using my orthographic views so I just put these into wire frame so I can see what I'm working with and then we're going to move it over here get it up to about the right height yeah that's close and these are just place holders so I don't want it to be inside the flame I'm going to put it just above the flame okay which flame is it that one okay so that's positioned I can now go back into my full screen perspective view and we'll turn the lights back on and you can see that just by default this is already having an impact on the scene so you can see if I move that around it's doing stuff which is nice and now we need to make some changes to this light so the first and most obvious one is to make it look sort of candle light coloured so I'm going to go into my colour here and I'm going to choose somewhere in the sort of orangey spectrum for this that's nice and if you want to see what kind of effect that's having you can just toggle illuminates by default on and off so if I give that a click it turns it off turn it back on and we can see what that light is now doing then what I want to do is add a decay rate to this light so candle light tends to fall off it's not going to light things that are way off in the distance and Maya handles this with a decay rate so the one that mimics real light the closest is this quadratic one so if we turn that on you'll then see that this is now doing next to nothing if I just toggle this on enough again it's hard to see what impact it's having and now that means we need to just up the intensity until it starts having an impact and you can see it's just starting to there which might be quite nice but I want to go a bit stronger now sometimes people think that when you reach the end of a slider that's as far as you can go so you might think that 10 is as high as you can go but if that ever happens to you you can just type a number and that will usually let you go higher so let's try 20 yeah, let's go up a bit higher than that that's nice, so I've gone up to let's say 30 and then we'll just toggle that on enough so we can see what's happening yep, that's kind of nice and when we turn off that you can see that it's kind of hitting the scroll which is nice so this might well work okay, last thing that I want to do then is close, so that means that we're ready now to try another test render but we're not going to do it in this step because I want to show you a different way to render in the next step which is using something called IPR or interactive photo realistic rendering so let's check that out in the next step in this step we're going to take a look at using IPR or interactive photo realistic rendering for Arnold which is a really good way to work I think anyway and it allows you to make changes and see the results almost instantly which can be brilliant so in order to open it in a separate window you go up to your Arnold settings up here and there is open Arnold render view so we'll click that and it opens as a separate window I'm just going to make this a bit smaller there we go, so we're just going to drop it down here for now you see the shape of this is respecting the size of our window that we set it to when we went into the render setting so that's a good sign and I want to show you how this works it will be very dependent how well it performs on what kind of processor or GPU you have I've got a fairly good one so my rendering is not too bad but if you're on a low end computer this might be quite difficult to work with anyway once you've got the window open click on this little red play icon there and that will start rendering what can be seen in here you see that that's happening pretty quickly and it renders out sort of in a circle and over time the image gets clearer that's done then it took 19 seconds for me and now that we've got this light you've got these little render artifacts here they're called in the industry fireflies and it just means that we've got to later in the rendering process turn up the samples to get those to disappear it's because we've got a very small bright light source in the scene whenever you get that lots of contrast it can just create this sort of little issue the good about this is that this is interactive so now if I make any changes to my scene I've got my light selected if I move it over here you can see in the bottom corner it's happening at a low resolution but it's re-rendering all the time to show what changes are being made to my scene so if I now drop it towards the other candle it'll just pick up and start rendering there but I don't want that one there so I'm going to do CTRL and Z to undo and that will start rendering and now what I can do is let's say I want to zoom in and see what this is doing to the shadows and getting real close and it's rendering for me all the time I want to get in really close on these shadows and then we'll give it a second because I don't want this shadow to be too perfectly round and at the moment it is I'm not a massive fan of that so let's increase the radius of this light oh that's too far and again I can use the interactive renderer here to see how much of an effect it's having so that's now casting a much softer shadow let's try 0.1 you can see that by changing that the light is now coming in much smoother the shadow rather is coming in much smoother now that I'm fairly happy with that then what I'm going to do is just press stop here so that it will stop rendering the scene in the background and I want to just duplicate this light here and put it in place over on the other candle I'm going to do control D move it over here I'm going to use my orthographic views to make sure it's in place that's pretty nice yep that looks good and now with both lights in place I want to render this but before I do it I'm going to show you one more thing this that is rendering in this window is not the same as what is rendering here because this is fixed to an aspect ratio this isn't so we can make this view tall and thin or long and fat so to see exactly what's going to be rendered in your render view you can turn on something called a resolution gate or a camera gate so if you go to view and camera settings you can choose a resolution gate and this rectangle here now is everything that's going to be rendered over here so what I'll do is just put this frame up in a way that I like that'll do it for now and then we can hit play on here again and this will render exactly as I want it to and at this stage now things are starting to look pretty nice so I've got my two main sources of light being the candles and that's now giving me some nice highlights on the flasks it's coming together pretty nicely that's going to do it for this step then I'm just going to stop my IPR rendering in the next step we're actually going to do the candles again but we're going to do a slightly more advanced light so we're going to take the measures that we created for the flames and turn those into lights and I'll see you in the next step to see how we do that in this step I'm going to show you how to use mesh lights to create some pretty sexy looking candle flames I know that we just created some point lights to be like the candle light but that was just to introduce you to point lights I don't actually want them anymore so we're going to delete those out of the scene so we'll get rid of that one and that one I will just point out if you have any issues with selecting lights what you can do is just go into your Outliner Windows Outliner and all lights that we just undo all lights will be listed in here so if I wanted to get rid of that point if I couldn't select it in here for some reason I can just click it in here and delete it that way and then if you just want to hide your outline and just click on the tab and it will just sit on this left hand side until you're ready for it right before I create my mesh lights then I decided that I wanted my meshes to be a little bit bigger so I'm just going to scale these up a little bit because they weren't very visible when I practiced this so let's make them a bit bigger now we're just going to pick one so I'm going to choose the one that's in the corner because I prefer rendering that one so now that I've got that one selected we need to go up into Arnold so we've just been using standard Maya lights so far but Arnold has its own set of lights as well and these generally work pretty well with Arnold because that's what they're built for so what we're going to do you have to have the mesh selected for this and what that does is turns the mesh into a light which kind of makes sense what we'll do now is make sure that we show original mesh in fact what we'll do let's get IPR rendering going as we're working on this so I'm actually going to close this view I want to show another way to do IPR rendering so I'm going to change this panel here to a perspective view and then I'm going to change my renderer to Arnold you'll see that this little box pops up and then I can press play and that's going to start doing some rendering which is giving us a fairly basic white light which is not quite what I'm going for so we'll just press stop on that for now and we'll make some changes and the main change that we need to make is to the colour so instead of just changing the colour to be a uniform colour we're going to put a bit of a gradient on it to mimic a little bit more of how a candle flame would look so we'll click on the little checker button there to make a connection and we're going to add a ramp which is what Maya calls sort of its gradient builder so we'll click on that and at the moment we've got a gradient going from black to white so if we click on black we're going to make this a fairly deep red colour and then we'll bring that up to about there so you can see now we're going from red to white next colour I want and I'm going to put it I think about in the middle for now we're going to have a fairly orangey colour so let's go somewhere in the orange spectrum that's pretty nice I need another colour in here so to do that I just click somewhere in this little rectangle and that will bring up a third colour this one's going to be quite yellowy that's kind of nice and I want another colour like this orange so I click here and it's remembered that orange for me and now what I'm going to do is this area here sort of is how I want my flame to look so I want it to be orange there sort of yellow to about there let's bring that in a bit closer yeah that looks pretty nice so that's my gradient that I'm going to use to create my flame out so it might move these a bit further apart get a bit more yellow in there yeah that's cool so that sets up the colour if we now turn on our IPR rendering again not too much is happening so let's now start making some changes on this to get the result we want so we can see that light is being emitted from it because it's impacting the top of our candle but it's not yet doing enough I'm just going to go into my outline to make sure that I can select my new mesh light and it will have been put inside the candle group I've expanded candle group I've expanded flame and there is my new mesh light what I want to do is make sure that I tell it to show the original mesh and that should get the flame to show up which does appear to be happening and then it's up to you to mess with the intensity and exposure until you get a sort of a level of illumination that you like so I'll start by upping the exposure I think that's pretty nice so let's up the intensity a little as well I just need it to light the environment a little bit I don't want to go too far with it and this is just trialling ever until it looks right what looks right for me might not quite look right for you so use a bit of your own judgement and see how it comes out I think I'm pretty happy with that for now one other setting that you might just want to turn on before you're done is this light visible which I think looks quite good it just brings the flame up a little bit more makes it more visible so I think that's come out pretty nicely so all we need to do now is repeat this for the other candle so I'm just going to run through this dead quick I'll speed it up so you can see what I'm doing and then we'll meet up at the end there we have it then we've now got two candle flames that are being provided by Arnold mesh lights and I've also introduced you to using Arnold IPR renderer as one of your panels in your viewport so I think that was a pretty successful step that we've just gone through together well done in the next step I want these candles to look more like they're glowing and in order to do that we need to simulate moisture in the air that the light can hit and illuminate so that involves adding an atmosphere to our scene which we'll do through the Arnold settings as well so I will see you in the next step for adding an atmosphere in the next step we want to make it look like our candles are glowing a little bit more and in order to do that we're going to add an Arnold atmosphere to our scene which is a really cool effect and it's one I'm a big fan of so let's jump straight into it in order to do this we actually need to go into our render settings would you believe so we'll click on this little icon here to open those up under the Arnold renderer there is a section for environment and then you can choose atmosphere or background legacy I like to choose atmosphere so we'll click on that we're going to choose an AI atmosphere volume so once you've done that you can close the render settings and it should give you the settings for that atmosphere in your attribute editor remember it's controller na if you need to open your attribute editor up and then you need to set a density for it now it's very easy to go much too high with the density so if I just click let's say up here we'll go for 0.6 everything's going to be blown out and it's just too much you can see that already even before I let the rendering finish this isn't really the look we're going for it might be useful in some contexts but in this one I'm not really feeling it so we need to bring that back down and the number I've got written in my notes is 0.02 as being a good number you by all means can tweak this up or down until you get an atmosphere that you're happy with but I'm going to try this there we go and as you can see as that's rendering in the main effect that it's giving us is that the candles now give off a little bit of a glow where they didn't before and that's really all this step is about about making everything look better because it will glow now we're now getting much closer to the end of this I'm now going to show you two more types of light for the light that we want coming in through the window we'll start with a sky dome light which uses an image to provide lighting and then we'll have a look at an area light which is the one that I'm going to end with so I'll see you in the next step for sky dome lights welcome back in in this step we're going to take a look at a different way of lighting our environment which is to use what's called a sky dome light which uses image based lighting so we take an image a Maya and Arnold take parts of that image generally the bright parts and cast light into the scene using that it's a really good way of creating naturalistic looking scenes or if you want really cool looking reflections in things like metallic paint or something like that okay so let's give this a go I'm just going to turn that off and then I want to find and delete my directional light because this new light is pretty much going to do the job that the directionals currently doing so that's gone and then we're going to go into Arnold find lights and create a sky dome light there it is by default it's just kind of lighting everything with this white color which is fine and sometimes is useful but it's not the effect that I'm wanting we're going to load in a HDRI image so that it lights things a little bit more naturally in order to do that we're going to click on the little checker pattern next to the color for the light we're going to choose a file and then we're going to click on the file and in our source images folder again if you're using my assets you should have copied this and put it into your own source images folder at some point otherwise feel free to find your own HDRI image so it's HDRI underscore forest you can see there's a preview of it actually looks better in the scene than it does there so we'll click on open and just so we can see it a little better let's zoom out a little bit and we'll just rotate around you can see it's just a nice little wooded area it's beautiful and this is now adding lots of light to our scene what I want to do you can see there's the sun there I want to rotate that around so it's located where the window is so I'm going to select my sky dome light turn on my rotate tool and then I just want to get in nice and close here and I'm just going to press A in one of these views and rotate it around you can see that the scene is updating to reflect that I'm doing this until the sunlight is sort of over there somewhere and hopefully it will cascade through this window now that we've done that we're going to need to start thinking about previewing it so I've still got my Arnold renderer being previewed up here so I'll just press play to let that start going and as this renders coming through you can see that it's giving a much more natural look to the scene of light cascading through the window falling across the scroll it's pretty nice actually I'm quite happy with it if however you decide that you're not a fan of certain parts then that's where you can make changes so perhaps you think it's a little bit too bright so you might not have the intensity down a little bit so let's try something like 0.6 that does seem to be a little bit nicer and if you wanted to try to get a cleaner set of shadows you could also try upping the samples as this is mostly for preview purposes I'm not going to do that but I think what I'll do at this stage is just find an angle that I like let it render out and then we will move on to the next step so let's just stop this rendering for a sec find a nice angle that's kinda nice and we'll just give that a minute to render that's the rendering done then for this particular version of my lighting I think it's come out pretty nicely and it's something that for a different type of project I would maybe try if you wanted to get the lighting to look believable you could create some other walls so let's just turn that off a second you could put some walls here and also put a cube on top to stop the light getting in because it's currently coming in from every angle even if it's darker somewhere else there is still light coming from that so if you really want to experiment with this a little bit and control it so it's only coming in through the window then you can do that or leave some little gaps in other places to represent like other windows or doors so that's gonna do it for this step then in the next step which is gonna be the last one where we use a type of light we're going to use what's called an area light and I'm gonna use that to cascade in what will look a bit more like moonlight and try and get some volumetric shadows going on through the window so I will see you in the next step in this step we're going to take a look at area lights and we're gonna use them to get a nice light cascading through the window that we've created and the way that area lights work will give us a little bit more control than the sky dome light that we've just used so again we're gonna delete the sky dome light because I don't particularly want it for this and we're gonna create a new light this is another Arnold light so it's gonna be the area light here it is and what I'll do is just move it up and I want to get it outside of the room pointing through the window so this line on the front shows you which way it's pointing so I'm going to want it to point this way so I'm just holding J to snap my rotation and then it's going to go on the outside of the room and be roughly in line with the window so let's just get this in place using this view here and I want it to be slightly bigger than the window I'm also just going to set it back a bit move it up a bit and tilt it down something like that and now what we're going to want to do is to start tweaking this so I'm just going to turn off the resolution gate for now so we'll go to no gate to do that and we'll try and see what effect this light is having and what changes we need to make to get it to look nice so let's start up our IPR render and see if it's doing anything not really the first thing I'm going to change is the spread and just bring that down that's not really had the impact I'm looking for now it's time to turn the intensity up I think I think it's now starting to do something we'll turn the exposure up as well there we go and this gives us quite a nice fantasy looking light where you get the streaks in it when it hits something and this is being created by two things one is the fact that I brought the spread of the light down if you take the spread back up you'll lose those shadows I'll show you what I mean there you go you can hardly see them now let me just get a better angle of this so you can't really see them so we need to bring the spread down to get that effect and I think this look gives it a much more fantasy magical kind of look which is what I'm going for for the aesthetic of this whole scene really to make this look cool you're probably going to want to turn the samples up a little bit this is quite an important light so I'm going to up the samples to about four I think that will impact your render time everything will take a little bit longer to do that but the shadows especially because the shadows are being cast through the air the quality of the shadows really matters I think what I also want to do as I did with the directional light way back when we started lighting I'm just going to add a pale blue colour to this which Maya has remembered that I had that colour so I'm just going to click on that and then the scene will update again and you can see that this is quite a nice light that we're getting and I think just to finish this off I'm going to up the exposure a little bit let's try 4.2 I think that's starting to look pretty god damn nice so we're now getting towards where I want the scene to look but I'm going to make one more final change that affects lighting and rendering and that's that I want the liquids inside the flasks to have a glow to them that will make the table more interesting to look at and also add to the magical theme that I'm going for because generally liquids don't glow well depending on what kind of energy drink you're into but generally they don't so that's what we'll look at in the next step so I'll see you in a sec to make some glow in liquids in this step we're going to take a look at how you make things glow using the Arnold renderer and we're going to do it specifically on a couple of liquids that are inside our flasks in order to do this then we're going to need to go into the hypershade just to update those materials so I'm going to stop my PR rendering for now and what I'm also going to do is just press 6 in that view there because now that I'm using Arnold lights they're not showing up in the hardware renderer viewport 2.0 so I might as well turn lighting off so that I can see what I'm doing okay let's go into our hypershade we'll start on the red liquid first I think I'll just press 6 in there as well okay so I'm looking for M underscore health liquid and you can see this is kind of how it's looking right now what I want to do is go to emission and the way I remember that it's emission is because we want it to emit to light so we need emission for this we're going to choose a pretty bright red color for this like that and then all you need to do is up the weight and you'll see that it starts to glow even in this view here it starts to glow and this is another one of those sliders that can go past 1 if you want it to if you need a stronger glow effect but we'll leave it at 1 for now and change it if we need to I'll just repeat this for the manual liquid then so I want to change the color to a blue we'll just go for that deep blue color there and we will whack the weight all the way up and they're going to start glowing what I'm also going to do though just before I start rendering this to see how it's looking is change the specular color so I'm going to make it a light blue for the blue liquid for the red liquid I'm going to make it a light red which will probably look pink so we'll choose our red color and we'll just add a bit of white into it you see what that's doing is the specular is the shiny bits of it and we want it to be kind of shiny red ok that should look good so now that we're done with that we'll just minimize the hyper shade for a sec I might want to come back into it and we're going to turn our viewport back to the Arnold renderer and I want to zoom in a little bit now because it's these bottles that I'm most concerned with and let's just hit play and see how they come out that's how it's coming out for now which I think looks pretty good the liquid certainly look like they're glowing I am going to make one change though and it's because of the way that this glass reacts if anything even slightly overlaps it what I'm going to do I'll just turn this off for a second I'm just going to shrink the liquid down inside the flask to make sure that's not happening so I'll just close those flask glass one and get the liquid and I'm just going to use my scale tool and I just want to bring it down a little bit not much at all just to make sure that it's inside the container and we'll do it with the other one same thing again just bring it in slightly and just to see what happens if we really dial up the emission I'm going to take it up to about 200 on each so we'll do 200 on that one there we go on the health liquid we'll do 200 again and then we'll see how this is looking so that rendering's finished then and I think I'm happier with the glow now so it really is now starting to impact things away from the liquid itself so you can see it's hitting the table it's hitting the cork you can definitely see it on this candlestick as well but now that we've got a mostly dark scene with some really bright spots in it we're getting all these little render artifacts up here and especially on the table and these things that we're going to need to fix so our next step is going to be about setting up for a final render so that we get a nice looking image out of this that we can put up on our blog or whatever and have people be proud of us so I will see you in the next step where we're going to create quite a sexy looking render of our scene welcome back in this step we are going to make this image really look beautiful get rid of most of the artifacts hopefully and have a final image that we can show off to people so they can see just how much you've learned in Maya to get started then let's just turn off this IPR rendering and I'm going to close that window for now I'm going to go back into our render settings which is up here and let's get this set up for some nice rendering so I'm now going to go up to I'm going to do 720p if you want to have a really high resolution image and you've got the time by all means go for 1080 or higher but because I want this to finish at some point soon I'm going to just leave mine at 720p I'm also just going to scroll up and I'm going to choose the image format that I want this to be saved in I'm going to go for PNG I like a PNG next we'll go into the Arnold render app and we need to up this camera AA my advice for this is keep it as low as you can while still getting rid of those artifacts as I was doing the prep for this I up the camera AA to 10 I think and the render just for one frame took about 2 hours which is a long long time maybe try out different settings and get something that you're happy with but we need to get rid of as much of those artifacts as we can so I'm going to have a go at 5 and if that doesn't give me the effect I want I'll take it up higher what you might also want to do is if you're getting any break up in any of your shadows you might want to go into the light so let's just say this area light for instance and up the samples of the light and you'll see that so your break up just looks like individual pixels like it was in the last step where we got some ugly pixels underneath this if you're seeing that on anything you can try it up in your shadow samples I'm going to leave mine where they are for now and we're going to do a render so let's set that go so I'm going to go to Arnold and render that's telling me it's done and I've still got a lot of break up and a lot of artifacting so that is something that I'm going to want to address so let's go back into my render settings let's up those samples to 8 and you'll see that these numbers jump up as I do that so 8, there we go and we will render again so I'm going into my render menu on the Arnold render view and we'll just click on update full scene so the rendering has just completed you can see down here that it took almost 20 minutes so going up from 5 samples to 8 there added a lot on to the render time and you can see that it's still not really done enough on the noise here so what I'm going to do is drop the amount of emission down especially on the red the blue is not too bad but the red needs to come down because the render is having a tough time with it and I don't really want to waste 3 hours rendering this if I don't have to so let's go in here and we'll just make that change so I've got it at 200 let's try something more reasonable like 10 and if I don't like it I can always change it again later and we'll do the same for the Man of Liquid just to keep things consistent this is a good opportunity to show you something that can be a big time saver when you are working on particular spots in your render the bit I'm interested in here is where the red is below the bottle so what I'm going to do is only concentrate on that so if you click on this button here you can draw a marquee selection around just a bit that you want to be rendered which I'm going to try and keep as small as possible which is about that and then you can change your parameters here so I'm going to try 6 on the diffuse and I'm going to take it up to 6 on the camera AA I'm going to leave everything else at 2 it might need a little bit more on the specular but this is something that you have to experiment with when you're having issues with your renders so now what we'll do is just an IPR render and it will only render within this square that we've defined so you can see now that the rendering though it's still taking a long time is only needing to happen within this rectangle and I'll know much more quickly whether or not I've managed to sort out the noise in the red colour that's being cast onto the table and as this renders finishing up whilst there is still a little bit of noise that could be sorted out by raising these values further they're now good enough for me for the purposes of what I'm doing in this tutorial so let's turn off the crop region and this will now want to render the whole thing I just want to press stop there I don't want it to do it on an IPR render we're just going to go to render and update full scene so that's the rendering complete then and that means that this step about setting up for your final render is also complete there is just one more thing I want to show you in this step and that's how to save your image once the renders complete I'm just going to show you on this one that's currently completing because I'm doing this a little bit out of order but what you do once your render is complete in your Arnold render view you can just go to file save image it will put you in the images folder of your project and then you just need to give it a name and then save it and that will save out your image into that folder so that you can put that into other applications or share it online or do whatever you want all that remains now is for you to go to the next step for your final challenge see you there welcome back to the last step and your final challenge for this Maya tutorial so in this final challenge what I want you to do is to experiment with the lighting and rendering to really make the scene you've created feel your own so since the last step I've gone on a little bit and made a few changes so I've added an area light here which is just shining straight down which I'm using to illuminate the scroll a little bit because that wasn't really showing up very well I've also added a little bit of a green tint to the glass on the bottles and I've replaced the emissive material so I took the emission out and I've put some little point lights inside which I think gives a better look for the kind of glowing liquids and this is the sort of thing I want you to do now experiment see what you can create how cool can you make this scene look turn it into something that looks the way you want it to look and then once you've done that I would like to join me in the next step which is where we will conclude the tutorial so I will see you in the conclusion wow you made it to the end well done over the last four and a half hours you have learned how to set Maya up how to create 3D models how to UV map and texture them and then how to make your work look super sexy creating and rendering that is some seriously impressive stuff I'd love to see what you've made by following my tutorial so if you'd like to send me a picture of your rendered scene come and join my discord server and show off your hard work the link for the discord server is below you'll need to answer some questions before you can get into the server it's a bit of a Hogwarts inspired sorting thing give it a try I think it's pretty cool if you found this tutorial helpful then please hit the like button and consider subscribing to GameDev Academy for more tutorials like this one I put a lot of time and effort into all of my tutorials so you won't be disappointed if you'd like to support my work to help me to continue to create more detailed tutorial videos then you can do so by becoming a patron through Patreon all of my patrons get access to all of the supporting materials for all of my tutorials you can become a patron for as little as $5 per month and you can cancel at any time if you're looking to continue to grow your skills in Maya now that you've completed this tutorial then I really recommend that you check out the courses over at PluralSite PluralSite has heaps of great courses on Maya and I suggest trying out their Maya core skills learning path you begin by measuring your skill IQ and then they recommend which courses you should complete from the 11 in the pathway based on your current knowledge the courses in each path are also split into beginner, intermediate and advanced so you know exactly what you're getting yourself into if you'd like to give PluralSite a try use my link in the video description to get a 10 day free trial that's long enough to complete 2 or 3 of the courses to decide if you want to continue your membership if you're interested in learning other software I have some excellent Unreal Engine 4 tutorials which are structured in the same way as this tutorial which you might like to try out they're also linked below the last thing for me to do then is to thank all of my wonderful patrons who support my work and allow me to create work like this and to thank you for sticking it out to the end not many people make it through a video that's this long but you've done it and that is something to be proud of hopefully I'll see you in another video