 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, but before 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 would I think. So M underscore would 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 like so. I'm going to use T underscore would diffuse 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 would roughness for that one. So 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 would 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 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 can see 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. Yeah, so the wood grain is too big and that's a scaling issue with my UV map, 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, 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 wood 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. 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. Okay, then I will see you in the next step for some more materials and UV mapping. 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