 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 the transformations and deleted the history. Delete by type history. 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 for going to face mode. This face here you can see is 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. I'm 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 can see that I also just need to get this edge piece there. 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, double 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 side 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. That's okay. I actually didn't want it pointing that way. So I'm just going to put my rotate tool on hold 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. 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 zero to one 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 modeling 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 color, 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, you can see it just kind of fades the color out a little bit. Let's push that all the way up to one to make sure that we get another color 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 metalness 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 should be metallic. So we'll 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. Okay. 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 six 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. Okay. 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. Okay. 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. Okay. 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 the shell is upside down. So I'm going to just rotate this around 90 degrees. So I put my rotate tool on a hold J on my keyboard 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. It needs to be a touch smaller, I think. Yeah. So I think I've got that one set up, right? Let's just have a little look. Yeah. Okay. 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 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. But 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 hypershade 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, wait. Clicked on the wrong thing. Let's break that connection. Color 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 tent 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 booking object 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 the 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 textures are showing a little bit lower resolution because I've changed the setting. Let's just go back into general modeling. Let's 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 of 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. Or we would 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. 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. Okay, 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. Game Dev Academy is graciously supported by these absolute legends. If you'd like to offer your support, then check out our Patreon page using the link in the description below.