 Hi there and welcome to Gamedev Academy. I'm Shane and in this detailed tutorial series, you'll learn how to use Maya. This tutorial is designed to gradually take you from a complete beginner through to being able to create your own 3D art. In this tutorial, you'll cover important settings, the Maya interface, modelling tools and techniques, creating materials and using textures, and finally, lighting and rendering. And when you've completed the tutorial, you'll have created something that looks like the scene you can see here. Before we get started though, there are a few things I want to tell you about how this tutorial works. The first is that there are two versions of this tutorial. There's this one, which is one long video, which contains over 50 steps back to back. The time code for each step is in the video description and the video is split into sections using the feature in the YouTube player. If this is the version that you want to complete, then just hang on for a sec and we'll get started. But if you prefer to cover each step of the tutorial in a stand-alone video, then you should try the playlist version of the tutorial, which can be accessed through the link in the video description below or by clicking the card which is on screen now. The next thing you need to know is that this tutorial is designed to have a gradual learning curve that will help you to remember the skills you're learning and to become more confident. The first time something new is introduced, I'll hold your hand through the whole process. But when the same skills come up again, the amount of support I give you will decrease, giving you the chance to reinforce your learning. If you get stuck at any point though, you can ask for help in the comments or check the link to the frequently asked questions, which is linked in the video description. There are also five challenges which I'll set you over the course of the tutorial, which will allow you to show off your newly acquired skills and to be creative in making the scene your own. The final thing I want to tell you is that there are some supporting assets available to help you to complete the tutorial. These are mostly textures and you are welcome to create or find your own textures if you would prefer not to use mine. If you would like to use my assets though, you can find the link in the video description. As well as the textures, you will also get access to the Maya project that I will be working on during this tutorial, which can be helpful to look at if you're stuck or unsure of anything. Okay, that's the introduction done with. Now let's move on to part one of the tutorial which covers some really important settings in Maya. Welcome to my new Maya for beginners tutorial. And the first thing I want to do, where I want to start, is making sure that you can never lose your word. Maya has been known to crash, especially if your computer is a bit on the weaker side. So we want to make sure that that can't happen to you. And we're going to do that by setting up undos, autosave, and also incremental saving. So this is the default Maya workspace. You can see I've just opened up. It's brand new. I've got this little prompt here telling me what's new. If you want to, you can turn this off. I don't want to show it at startup, but I do like to see what's highlighted for no particular reason. So we'll click on OK to get rid of that. And the first thing I'm going to do is show you where the settings are and how to turn on infinite undos. So we're going to go to Windows. And then within that menu, you can go to settings, preferences, and then preferences. That opens up the settings window. And there are a lot of settings in Maya. They're separated into categories down the left-hand side. And we can choose the ones that we need to see. So the first one we'll do is undoing. You can see there's an undo section on the left-hand side. And you can see that undo is turned on. And by default, in a lot of versions, it's set to finite and with only 50. If that's the case for you, make sure you have it on infinite, which means that you can go to Edit, Undo, which is there. Or you can press Control and Z as many times as you want from when you opened Maya and you'll always be able to go back. That's the first thing we want to do. Next, what I want to do is turn autosaver, which means that we can set a period of time, let's say, every 10 minutes, which is the default, and Maya will just save our work, which means if something happens like a crash, we will only ever lose 9 minutes and 59 seconds' worth of work, which is good. So in order to do that, we need to stay in the preferences window. We're going to go to Files and Projects. And there's an autosave section here. And what we need to do is just click on Enable. And that's it. You can change the interval if you want. So I'm just going to leave it at 10 minutes. I find that to be really good. And that's the first half of the autosave strategy that I want you to implement. So we'll click on Save for that. Now what we're going to do is turn on Incremental Saving, which will increment your save. So instead of just saving the same file, so if we had something called Scene, it wouldn't just keep saving Scene over the top of Scene. Every time you save it would save Scene, then Scene 1, Scene 2, Scene 3, Scene 4, which is really good because it means that you're not at risk of losing that file if Maya crashes when it's rewriting, when it's resaving. It will only ever lose the newest one, which again, it's about just protecting you from losing any work. So in order to set that up, we need to go to File, Save Scene, we'll click on this little box here. In Maya, in the menus, a lot of options in the menu have these little boxes. And that means there's some additional settings that you can get to, so if we click on that, you'll see that we get this Save Scene options and we just need to tick the box for Incremental Save. If you want to, you can limit the number. I never do. I like to have the whole sort of history of something I've worked on. And then what I will do is just click on Save Scene, and that will just make sure that that setting is saved. I've already saved this one since I've been warming up this. It might ask you to just give this Scene a name, which you just need to do and then click on Save. Okay, that's it then for this first step. The real super important thing I always show everybody to do, first of all. Now we've got that under our belt. In the next step, we're going to move on to a bit of a tour of the Maya interface. I will see you there. Welcome to step two. In this step, what I want to do is just take a look at the interface. In Maya, as you can see, just by default, there's a lot going on. I just want to quickly tell you what each part of this interface is for and what it does. Then we'll be able to move on to a bit more than nitty-gritty. Let's start with right here up at the top. This is just your standard Windows menu bar. We've got your usual file, edit, create, select, modify, display, windows. These have all got consistent things in the menu, but after that, you've got things like mesh, edit, mesh, mesh tools. These are related to the modeling menu set. The thing about Maya is it has so many different options. They don't all fit across the top, so it sorted them into categories using this drop-down box just here. You can see that by default, we're on modeling, which is where I want us to be, but there are others. There is rigging, and you'll see that the options over here change. We've got animation, effect, rendering, and you can also customize your own menu set as well. For now, we'll just go back to modeling. We've got across the top some fairly common options. Things like new, save, undo, redo. We've got some different snapping options, and then these are related to rendering materials. We'll get into them all later. Below that, we've got this area here, which is called the shelf. It's just a tabbed way of arranging shortcuts to our tools that they'll use for certain things. By default, we've started in the poly modeling one, and this shows us some of the primitive shapes we can create in some of the ways that we can modify them. Similar sort of thing for curves, which is another way of modeling. Sculpting, which is another way of modeling. Then we've got rigging, animation. Again, for this, if you want to, you can set up your own custom shelves. We'll just put that back on poly modeling for now. This big space here in the middle is called the viewport, and this is where you view what you're working on. There are some things that we can do for it. The viewport's got its own menu, and we can do things like turn display options on and off. We can change the type of camera we're using. There's a lot going on in here. We'll get into that as we go further through the tutorial. Down the left-hand side, you've got really common tools. You've got a couple of selection methods here. You've got normal selection tool. You've got your lasso tool, which is you can just draw a lasso around what you want to select. You've also got your paint selection tool, which allows you to paint components. Or edges or faces and select them that way. I, though, in the years I've been using it, have hardly ever used these bottom two. I've got a couple of the ways that I like to work. And then the next three are fairly important ones. You've got your move tool, which is used to move things around. Your rotate tool and your scale tool. Again, we'll cover these more as we start to use them. You've also got some default views, and I think there are fewer here than there used to be. So this is the one that we're currently on now, which is the one pane which has a perspective view in it. There's also what's called the four view, which we'll come back to later. You've got a side-by-side view, which we'll call the two view. Is that what they call it in Maya? I don't know. And then we've got the same sort of view, but it has an outliner as well. We'll go back to this view here. Let's just hide that. Over on the right-hand side, this is called the channel box, and will probably be what you're seeing by default if you've just opened Maya. And this gives you settings and options for things that you have selected. We also have some tabs down here. So there's a modeling toolkit which has a lot of tools that are used within modeling, which kind of makes sense. And there's the attribute editor, which also gives you ways of selecting and changing the properties of certain things. Sometimes you need the attribute editor, sometimes you need the channel box. And again, we'll touch on these later to make them relevant. Down at the bottom, this is your timeline. And this is used for animation. So you can see this is just counting the frames. We've got some controls for it here. Some further controls. This is all to do with animation and the timeline. This is your time slider. This tells you how many frames you've got in total. We've currently got 200. And how many frames you're displaying from 1 to 120. And then down here, this just displays important information. So that's pretty much the interface. But you can change it depending on what you're doing. So up at the top, you've got the workspace dropdown. And by default, you'll probably start in Maya Classic, which is the one that I learned to use way, way in the past. But now they have different options. And I'm going to suggest that moving forward, we switch to modeling standard. And what this does is just streamlines the interface a little bit. We've looked at all the animation stuff because we don't need that. We've also got the modeling toolkit open for us, and the attribute editors open here as well. We can also get the outliner when we need it, which we will at some point going forward. Right, I think that brings us to the end of this step. Well done for sitting through it. It didn't really give you much to do, but hopefully you've got a better idea of what all the different elements of the workspace are because we will be using a lot of them moving forward. OK, next we're going to prepare to start making things by creating a project and saving a scene. Two really important steps. And these are the first things that you should do when starting any 3D modeling work in Maya. So let's take a look at that next. Welcome back. Nice to see that you haven't been scared off. That must mean that you want to know how to create projects and save scenes in Maya, as that's what we're going to be doing in this step. First thing we need to do is think about what projects are in Maya. Maya doesn't save everything in just one file. It saves them into a directory, into a folder. And within that folder, it has some subfolders where we should save different elements of a 3D project, such as the geometry, the textures, things like that. First thing we'll do is go into the file and project window. This is where we create new projects. So click on that and it opens up this. So by default, if you try and click and type in here, that won't work. Because you need to click on new first to tell Maya that you want a new project. So I'm going to call it Sorcerers Desk. And I'm choosing to save mine onto the desktop. But by default, it will probably offer you, in your documents folder in Maya, there's a projects folder there. You can choose to use the default if you want. I'm just putting mine on the desktop, so it's easier for me to get to. But if you do want to change location, just click on this folder choose wherever you want. Next you'll see that you've got lots of names of different things here. This is what the folders are going to be called. You can, if you want to, change the names of these. And maybe that suits some workflows, but I've never found a reason to change any of those. So I won't be doing that. All I want to do is click on accept. And that then should have created our project. So now let's just minimize mine and have a look. So you can see it created me a new folder and it's put it where I told it to. And then we'll open that up. And you can see that within that folder it's created all of these sub folders. So we've got the scenes folder which will save the Maya scene file. We've also got source images, which is where the textures that we're going to use need to go. There's an images folder which is when we start rendering and that's where it puts the rendered images. And we've also got an auto save folder there which is where the auto saved files when we set it up in the first step. That's where they're going to end up. So as long as you can see all those folders you did it right. Well done. Give yourself a pat on the back. We can close that and now I'm mosey over back into Maya. And then while we're here and while we're covering this sort of thing we'll just cover creating a new scene it. So to create a new scene it's nice and easy file new scene. You can also press ctrl and n. It'll ask you if you want to save. I haven't made any changes to this so I don't need to save it. So now I've got my new scene. It's currently called Untitled. I don't want it to be called that. So I'm going to go to file, save scene as and you'll see that by default it's in that source restrict project in the scenes folder. And now I need to give it a name. So I'm going to call it Sorcerers Desk. That seems like a pretty good name. And then I'll just choose Save As. And that's it. This scene has been saved. We're now ready to move on. The reason that we saved this even before we've done any work on it is because now autosave will kick in. Until you save a scene for the first time autosave can't do anything. But now that we've saved it, every change that we make will be saved every 10 minutes in line with what we set up. So we are now ready to start making some stuff in the next step. So we're going to create our first 3D shape in Maya which is going to be a floor. So I'll see you in the next step for all that excitement. Okay, part four. Time to make our first shape in Maya. And this is going to be something that will represent a floor in our little room. So first thing I want to do is make sure that we are on the modeling menu set. So that's this one here. Make sure you're on modeling. And also make sure you're on the modeling shelf, the poly modeling shelf so that we're on the same page moving forward. In Maya there are lots of different ways to do everything. There are at least three ways I think to do anything. So I'm going to try and show you different ways. I'm not aiming to show you the best or fastest. I'm just trying to introduce you to lots of different things so you've got a good understanding and then you can make your own decisions. With that said, the first thing I'm going to do is create a polygon plane which is just like a flat 2D square. I'm going to do that from the create menu. So if we go to create up here you'll see that you've got polygon primitives and we want to create a plane. And you will see that that is created on the grid, in the center of the grid in your viewport. The next tool I would like to introduce you to is the resize tool which is this one here, the scale tool. So you can click on that or you can press R on your keyboard. The reason it's R is because these first four tools, one, two, three, four are the top four keys on the top of your keyboard. So it's Q, W, E and R and that's why the scale tool is set to R. Okay, so when you turn that tool on you will see that you get all these different manipulators and they all do something different. So they're color coded and that should show you, using this thing in the bottom corner here it will tell you what they relate to in terms of which axis. So if I drag on this red one that's going to scale it on the X axis and then I'll press CTRL and Z to undo that. I can scale it on the Z axis and I could try scaling it on the Y axis but it won't do anything because this is just a 2D shape. What we can also do is we can scale it on two axes. Now in this case if I scale it on the green one that means that it will scale on the other two axes. So it will keep Y the same but scale on X and Z. So if we do that and the same for these but again because this is only a 2D shape it doesn't work the same. And then the last one is this one in the middle is all axes at once. So if we click and drag on that that's what it will do. So you can see that that now is going up to about the size of the grid is what we're going to go for just as a rough guide. So that is the scale tool but I also want to show you that you can resize by typing numbers in as well if you want to do that. So what we need to do is get the channel box open. So because we open the modeling workspace that's now disappeared. To get it back what we're going to do is press CTRL and A on the keyboard and press it a couple of times and it will pop up. And what I'm going to choose to do is just drag it over here in fact let's put it there. I'm going to drag it so that we get a tab here. So I've now got attribute editor modeling toolkit channel box all placed over here. We can see that it's called pplane1 this is its name here and it's got some attributes. So it's currently size to 24.004 units online. And what I would like it to be is 25 exactly. Just because that seems to be the size that the grid is set to. So we set it to 25 by 25 by 25. That is actually a little bit bigger than the grid. Maybe the grid set to 24. 24 by 24 by 24. Yeah that's better. So that's now the same size as the grid. Lovely. The last thing I want to do them now that we've resized it in a couple of different ways is just show you how to rename it. You should rename everything as soon as you create it in Maya because you can quickly get hundreds of shape but you don't know what they're called. So trying into the habit of renaming things as quickly as you can every time you create something. So what I'm going to do is just click here and it's called pplane1. I'm going to rename that to Floor which seems a good name for it because it is in fact a floor. And just while I'm here I'll show you one more thing. We've got this input section Click on an inputs does nothing but if you click on polyplane1 it brings up some settings. So again you can resize it here to the width and height and you can also set how many subdivisions it's got. That's these lines that divide it into smaller squares. And for this because it's just going to be a flat floor to save on geometry I'm going to set it to one and one. And you can see there are now no subdivisions on there. That then is our floor we're done with that. I'm happy with it. It's the best goddamn floor I have made all day and I have made tons of floors. So yeah we've done well we are really really motoring through this well done. Right next one we're going to be getting to grips with navigating in Maya so how we move around the scene so rotating, zooming panning, dollying all that good stuff. So if you're excited about controlling a camera in 3D space I know I'm going to see you in the next video. You're back that means you want to know how to move around in Maya. So let's do that. In Maya you need a three button mouse to be able to navigate properly that means that you have a clickable left, right and middle mouse button. You're also going to need a keyboard since all the camera controls in Maya require you to press alt on the keyboard the first one we're going to do then make sure you've got your mouse in the viewport hold alt on your keyboard and we're going to left click this rotates the camera, tumbles the camera around so the object is not moving you're actually moving the camera around the object so we can see that that allows us to rotate at the same distance and because we're currently just focused on the center of the grid it takes us just around there. So that's alt and left click. If you want to zoom in and out you can do that with alt and right click and drag. So I'm going left and right you can see that's moving the camera in and out. So that's physically moving the position of the camera closer and further away to that plane that we created. The final one is alt and middle mouse button and this will move side to side. So this is called panning I believe. Pan side to side and up and down is tracking I think so those are your three main ways of moving around in Maya so you've got alt and left click alt and middle click alt and right click. If you're lazy which most of my students are you can also scroll in and out with your middle mouse if you've got one a scroll wheel but you can see that does it kind of fixed increments which can be useful but it's not as smooth as doing alt and right mouse button which is much smoother so smooth. When you are new to moving around in 3D space it's entirely possible that you'll zoom out too far move stuff off to the side and be all like oh my god I've lost all my stuff where's my stuff? The way that we get it back is by making sure you've got it selected you can see I've got it selected because the floor's here and then you press F which means frame selected and then that's kind of how you do it so that will make sure that it centres whatever you want it and if you you're getting kind of out of control of the camera so let's say you do this and you're just trying to move around and you're like oh my right can't I focus on my place all over the place then just press F and then when you do that it stays centred. So let's say we lose ourselves again oh no I've lost my work where can it be and we don't have it selected well first of all F still works because it will just show you what you've got in your scene or it'll show you the grid one or the other or you can also press A which will frame all so everything in your scene so F and A are really good in case you get lost. So that is an introduction to moving around in 3D space my advice now is to spend a minute or two just moving around and getting used to it because it can get really frustrating if you keep pressing the wrong button and ending up where you don't want to be. So before moving on to the next step where we're going to create the walls make sure you're confident with moving around because I won't be covering it again I'm going to leave that to you now and then once you're confident we'll go and make some more stuff so I will see you in step 6 where we're going to make some walls for our room see you there welcome back so as promised we're now going to put some walls up for our room we're only going to do the back walls so that we can see into the room which will make it a little bit easier for navigation and we're going to create the wall from a cube so the last time we created a polygon primitive we did it from the create menu but we've got this poly modeling shelf open and we can see that there are some shapes there waiting for us just saying hey would you like to create one of me and my answer is yes yes Mr. Cube I would like to create one of you so we're going to do that by just clicking on the cube icon from the shelf and what this does is creates us a new cube at the origin which is 0000 on your grid I would like you to get into the habit of naming things as quickly as possible so now that we've created this and we know it's going to be the wall we're going to name it wall there we go next what we'll do is just put on our scale tool and we're going to resize it so it's going to be this wall here that we're putting in and so if we resize it on the x-axis which is what I'm doing here we're just going to decide on what we want the thickness of our wall to be so I think that thickness should be plenty it might even be a bit too much let's bring it in a bit ok then what I'm going to do is just scale it on the z-axis to get it roughly where I want it for the length of the wall but to get it to the exact size that we want we're going to cheat a little bit and we'll do that by moving into vertex mode and moving the vertices into place so we're going to make sure that these vertices line up perfectly with this vertex here so to do that I'm just going to right click on my shape this brings up what's called the marking menu and it gives us some options related to what we have selected and I would like to put this into vertex mode so I've still got my right mouse button held and when I release on one of these options it will do that and then you can see that as I mouse over I can select vertices so what I'll do is just do a marquee selection click and drag and that's going to select the ones on the top the ones on the bottom everything on this side now I'm going to switch to our move tool which is this one here or W on the keyboard and just like with this scale tool we can work in different axes so we've got the y-axis going up and down z is going backwards and forwards and x is going side to side and what we can do here is just move these vertices so you can see this side's being left alone and we can move these and try and get them in line but the real super duper trick that we're going to do to get this to make sure it perfectly lines up with the edge of this is something called snapping you've got some snapping options up here you can snap to the grid points, you can snap to curves you can snap to vertices I want to do a vertex snap so to do that I'm going to press and hold V on my keyboard and you will see that that highlights up here which kind of snapping I'm going to use and then just move it on the axis that I want it to move on so you can see as soon as I do that it will only snap to where there are already vertices so it's snapped to that one there and then I'll repeat that process on this side so select all of the vertices, hold V and then just move it so that it moves out to where it should be that wall is now perfectly sized now that we've finished our first foray into component mode in this case the component was vertices we're going to just right click on the shape again and go back into object mode and now with the move tool on we're going to move it towards the back of the room and the final thing that we'll do is just try with the scale tool to get some height on our wall yeah that looks pretty nice so that then is our first wall constructed from a polygon cube we have created it we've resized it we've made sure that it perfectly aligns up with our floor using vertex mode and then we've put it in place and given it a bit of height the next step is going to be all about duplicating this wall so that we've got the other back wall duplicating is good we don't need to make and resize one of these cubes again so we'll take the lazy way or the more efficient way to create our second wall so I will see you in the next step for that here we are in part 7 then and that means it's time to show you duplicating and also introduce you to the rotate tool so we have our original wall here we need to make sure it's selected and we're going to duplicate this so the way to do this from the menus is if we go to edit up here and then we just go about just over half way down you'll see that duplicate there is listed and it shows you the keyboard shortcut for this is control and D which is what I'll be using moving forward because control and D is much quicker than going into the menus and when we duplicate you actually in the viewport won't see that the duplicate is there what you will see is that the name here changes so when it duplicates something you'll have the duplicate selected so let's click on duplicate them so you can see the viewport doesn't really look any different but now instead of wall we have wall 1 selected which is good so to separate these two because they're currently sitting right on top of each other I'm going to put my move tool on and I'll just bring this in to the center of the room so that I can now see that I've got my two copies I'm happy to keep the name at wall 1 because I know it's a wall and it's a copy of the original so that's fine but the direction this wall is facing is not particularly useful we need it to rotate by 90 degrees the appropriate tool for this is of course the rotate tool which is the final of the three main tools over here so we'll turn that on from here you can of course press the E key which is the keyboard shortcut now that I've clicked on each of these I will probably be sticking to the keyboard shortcuts from now on so here's what we need to do we're going to rotate this round either 90 degrees this way or you can go minus 90 it doesn't really matter and if you have a look over here as you're rotating you'll see when you're getting close so we can go there but the problem is it's going to be almost impossible to get it to exactly 90 degrees so you can just type that number in and press enter and that will mean that that is now rotated exactly 90 degrees but I want to undo that and show you another way what you can also do whilst rotating is hold the J key on the keyboard and if I rotate now you'll see that it snaps to 15 degree increments this can be really useful when you're just kind of working in a free form way in the viewport so I'm just going to rotate that round and that's 90 degrees exactly the final thing to do in this step is just to get it lined up so this time what I'm going to do is just hold X on my keyboard and you'll see that that shows that this snapping up here grid snapping is going to happen and if I move side to side what I'm doing is I'm snapping it to the centre of the grid and because this is now lined up here I'm happy that that position is in the centre of the grid and you can see that that makes sense and then I'll just kind of freehand move this back to about there so that those walls intersect a little bit and that there's no gap between the floor and the wall so let's just select everything and we can see how that's coming together so that will do it for this step in the next step I'm going to be setting you your first challenge of this tutorial so I hope you're feeling ready to be challenged see you in the next step welcome to part 8 and challenge number 1 so now that you've learned how to create cubes and shapes how to resize how to move things I want you to use that to create a new part of the architecture of the room and I will show you what that is if I just unhide them I've already created them here they are so I'll just select them so that you can see them because it's not that easy to see I've created some beams just to make the walls look a little bit more interesting I'm not going to guide you through this you need to create a cube you need to make sure you name it you need to resize it and you need to position them until what's important is that you just leave enough space kind of here because it's part of this exercise I intend to put a window there other than that you can put them wherever you want that then is your challenge and I will see you in the next step when that challenge will be complete good luck I know you can do it how did you find the challenge let me know in the comments how you got on with it I'm sure you did fine and now we've got the sort of basic room set up we need to start preparing the scene to add things to it and the way that we're going to do that is we're going to add everything we've created so far to a layer and that means that we'll be able to turn that layer off or hide the layer so that when we're creating the next piece of geometry which is going to be a table this won't get in the way and distract us so by default you should have your layers window open down here if you don't just switch into the modeling standard workspace should put that there you can see that we have lots of options here but there are currently no layers set up so what we will do is use a marquee selection to select everything in our scene so far and then from the layers menu so we're just going to click here the first option is create empty layer which we can do but what that will mean is that we will then have to add all of this geometry to the layer afterwards but because we've got this geometry selected we can create a layer that includes it with create layer from selected so we'll give that a click and we can see that that's now created a layer down here and it's called layer 1 if you haven't already noticed I really like to rename things as quickly as I can so I'll double click on this layer and we'll give this a name for this layer I'm just going to call it something like room that kind of says what I need it to say one thing to keep in mind about giving your layers names is it will not let you have any spaces in your naming and it will also not let you name your layers the same as any piece of geometry that's in your scene so room save then we have some options here this v is visibility and we can toggle that on and off shortly we will toggle that off so that we're ready for the next step but we've also got this p here and what that means is whether or not the geometry can be seen during playback so if you're doing animation you can have certain things turn off when you play so that you can improve the performance of playback get a better frame rate and then the final one here is that you can have these letters so there is t and that means that the objects in that layer are templated which just puts them into a wireframe mode that can't be selected which is good for sort of lining things up you can also cycle that through to an R this means referenced so you can see them as normal but you're unable to select them so you can't make any unwanted changes in that way and then you can toggle that back around to nothing so the last thing for us to do on this step then is just to hit the V so that that removes the room for now and that will make the scene ready for the next step in which we'll create the first piece of our table top so I will see you in the next step for that ok then let's get to work on this table and we'll start with the table top this step is just going to be about creating one of the planks that make up the table top it'll be short but I'm going to introduce you to the bevel tool which is kind of the focus of this step really we need to create our shape which is going to be a cube again and I'm going to call this table top like so and I want to get this into kind of a plank shape so I'll just do this by eye so I want the wood to be fairly thin and it's going to need some length in it so I'm kind of happy with that if you really want to get it exactly the same as mine you can see my values here in the channel box so you can copy those if you want but I'm going to go with that I'm fairly happy with it to make this geometry look a little bit more interesting what we're going to do is add bevel to the edges which kind of smooth them out the thing about polygon shapes by default is that the edges are unbelievably sharp which if we're dealing with a wooden table even if the woodworker tried to get them sharp there would still be a little bend if you got in close enough and we want this to look fairly kind of old and rustic so we're going to add a bevel we'll do this first of all I think from the edit mesh menu you can see at the top is bevel it also tells you that if you want it you can use control and B to get that command so if we just give that a click with the shape selected it's going to do it on every edge and hopefully you can see what effect that has had it should also open this poly bevel menu here little sub menu that will allow you to make changes and we've also got some further options here in the channel box just by clicking and dragging on these words you can change the properties so you can change the fraction so I'm going to just drop this down quite low 0.2 is quite nice it's going to be a subtle effect that I'm going for you can also if you want to add more or fewer segments often you will want more segments than just the one but because this is just aimed at absolute beginners I'm going to recommend keeping it to one it will make it easier to UV map this later which is to do with how we add our textures so in the interest of keeping this fairly straightforward I will recommend that you set it to one if you want to give yourself a challenge by all means go for two or three but my advice go for one ok we can now just click somewhere else that will turn that option off if you want it to and that is the end of this step so we've named it we've sized it roughly how we want it and we've put a bevel on the next step we're going to use duplicate special to create multiple copies of this one piece on in one go so I will see you in the next step for that in this step we're going to use something called duplicate special to turn this one piece of tabletop into many pieces of tabletop and complete our tabletop so what we need to do first of all is make sure that we have it selected and then what I'm going to do is just duplicate it the kind of standard way because I want to get a measurement for how far I want to move it and on which axis so I'll be looking up here so I'm just going to hit control and D to just do a quick duplicate and I'm just going to move it so that it's basically touching let's have a look yeah that looks ok and that is in my case 1.011 I'm actually just going to copy that value so I'm going to hit control and C to do that and I'm going to delete the duplicate next thing we're going to do is use this duplicate special command so if we go to our edit menu and down to duplicate special what I want to do is just go to this here which is the options box and there's lots of things you can do here but the thing that we are interested in is just creating a number of copies of having them move so translate by a certain amount so I think I'm going to want 5 pieces in total so I'm going to have 4 copies and I need to translate them on the Z axis so I'll just paste that value in and what it will do now is every time it creates a copy it will move it by this amount so if we now just hit duplicate special you'll see that that creates our table top for us and what's kind of nice is that we get table top and then it renames the additional one so we get table top 1, 2, 3 and 4 that's it then for the table top nice short step but it's important to know about tools like duplicate special they can save a lot of time in the next step it's going to be another setting up an explaining step we're going to be bringing in a reference image which we'll then use to model a more complex shape which is going to be the table like so I will see you in the next step for that in this step we're going to take a look at the orthographic views in Maya and then we're going to import an image plane that we can use as a reference for the next shape that we're going to create so what I'm going to do is I'll stick an explanation of what the orthographic views are on screen so that I don't have to bore you with that and I'm going to show you how you can access it so the tool bar way is to click on this area here so you can see you've got a 4 view and by default the 4 views it gives you will be your perspective view here and then 3 orthographic views so you've got a top view which looks straight down a front view and a side view you can also if I just go back to my perspective view you can quickly access them by tapping the space bar so if I try that now you can see that that will then jump into the 4 view then if you want to make any of these views full screen if you just put your cursor in it so for instance if I choose this side view and tap space bar again that will then full screen that view and you can nip in and out of your views just like that the view that I'm interested in is the side view because we're going to put the side of the table underneath here and we're going to import an image plane I have an image plane reference already prepared which you can access by using the link in the description below or feel free to make and use your own so the way that we're going to import this image plane is to click on view in the panel menu and then near the bottom there's an image plane section and from that we can choose import image if you have your project set up correctly you should be taking straight to the source images of that project but if not you'll just need to navigate to it if you're using my images then you'll just need to make sure that you've dropped them in the source images folder of your project there will probably be a lot more images to choose from in the project you've downloaded from me because I'll just keep adding things as I go and this is where all the textures will be but for now we just need this table leg reference so if we click on open you can see that gives us this which provides us an outline that we can follow whilst it's still new we can use the scale and move tools to put it into place so what I'm going to do is just roughly get this set up it doesn't need to be perfect it's just a guide and I can move it when I'm done there we go so as I said it doesn't need to be perfect but this is just going to provide us with an outline of the shape that we can follow in the next step when we are going to be modeling this table leg so now that you have used the orthographic views and imported an image plane you're now ready to move on to the next step I'll see you there we're now going to move on to some slightly more complicated 3D modeling to get this table leg shape what I want to do first of all though is just make one more adjustment to this image plane because currently the lines that we're going to be following are kind of flickering in and out and that's because this is currently unfiltered this image so what we'll do is just make sure we select it we're going to go to the attribute editor which for me isn't showing up so I'm going to press ctrl and a to make it pop up and make sure that you can see image plane shape 1 this will show you the image and you can see there's a texture filter here and basically what you need to do is just swap to a different one of these whichever one works best for you I've tested and I quite like the depth map trial in here so it makes the lines not quite as bright but I can now see them all all of the time which is much easier to work with what we need to do first then to create the shape is we're going to start as we have done so far with a cube so we're going to create a cube in one more different way that we haven't done yet to create our cube then what we're going to do is press and hold space bar and that's going to bring up this menu here which is known as the hot box so this will give you access to the entire user interface without having to have it up here and all around which can give you more working space if you want to be a pro this is the way that you need to get comfortable working so from this menu I'm going to click and hold on create if I don't hold I won't be able to navigate the menus so click and hold I'm going to go to polygon primitives and create a new cube you'll see that's created up here because that's where the origin is and what I'm going to do first of all is just move this into place as close as I can get it now what I want to do is just give this some subdivisions so you can see that these lines running up here are what allow us to change the silhouette of the shape and we need to add those to this cube and we do that by going into inputs clicking on polycube 4 is what mine is called and we're going to change the subdivisions height to 15 and you can see that now we have subdivisions running at the height of the cube whilst I'm in the channel box I'm also going to rename it so we're going to call it table leg there we go and now I'm going to use my resize tool just to get the basic shape of this so I'll just try and get it pretty much so that it's high enough this does not have to be perfect it's just to get us close we can refine it later and then I'll probably just take it to about the thinnest point and then we'll bring the rest out what I want to do now is get into vertex mode there are a multitude of ways of doing things such as this and this time I'm going to do it from the modelling toolkit so it's open there in a tab or I can just click on this icon here to open the modelling toolkit there it is and across the top we have these icons that allow us to change between different modes this is object mode here we've also got vertex, edge and face mode to do with texturing so for now we're just going to click on here that will take us into vertex mode you can now see the purple vertices and we need to be able to select these in rows and this is a really important thing I'm about to show you pay attention if I was to just click on this one at the bottom here and then use shift and click I would have them both and it would look like I had the whole row selected but if I go into this view here you can see that I've got these two at the front but not these two at the back if however, I do a marquee selection like that you can now see that I've got the front and the back and for this to work we must do that on each row as we work our way up otherwise you're going to have a bad time and have to redo it so we're in vertex mode we have our bottom row of vertices selected what I'm also going to recommend is that you use number 4 on your keyboard and number 5 on your keyboard to switch between wireframe and shaded mode just so you can see what you're doing so now that I've got wireframe mode on I'm going to use a combination of my move tool so I'm just going to move that down a little bit and my scale tool I'm only going to scale out on this axis like that that then is going to help us create our shape so then I'll move up to the next row get a marquee selection I'm only scaling on the one axis so you can see that that has gone out evenly and if I scale on the one axis it stays even you can see that that's nice and even if however I scale from the middle to scale on all axes it's also going to scale outwards which we don't want so in this view it would still look right but in this view it looks oh so wrong so it's kind of important that we don't do that by mistake let's now go into each of these rows and we're just going to create our shape so we'll do move tool first get the row in place and then scale tool to get it to line up with our guide so I'm just going to speed this up let you guys follow and I'll meet up with you at the end just here you can see that I'm about to get an overlap so if I want to move this next row up to here I'm going to overlap them that's a bad idea so what I'll do is do a few more rows and I'm just going to move them up together so that means that I can avoid this overlap because I don't want this topology to start overlapping and getting messy so that is our table leg complete we can go back into shaded mode I'm also going to just drop this back into object mode and we'll see how it looks in perspective view so the silhouette is looking good the width of this or the thickness is far too high for my I'm just going to change this as an overall shape something like that looks nice and then what I'll do is just use my move tool to move it over to one side of the table that looks nice I am now done with this reference piece so I can just select it hit delete and that will do it for this step in the next step we're just going to finish this piece off with a bevel and we'll add these pieces to a layer so we can hide them whilst we continue to build our skills we're not quite done with these table legs yet we need to put a little bit of embellishment on them before we duplicate it over but the next step is going to be about setting up for that so I will see you for that welcome back as promised we're now going to finish off this table leg by adding a little bevel to it so first thing I'm going to do just to make life a little bit easier is to just move this out of the way of the table so we can see everything the trick to this, the reason that this step exists at all is because I want to show you how to select edge loops which is really important so we're going to go into edge mode so I just right click on my shape and select edge like so and you can see that whilst I'm doing that I can click and select on any edge and that will select it what I can also do is if I hold shift on my keyboard and left click it will allow me to select multiple edges that can take a long time though so what I'm going to do instead is use a couple of methods to select all the edges that I want so to select an edge loop what you need to do is find any edge that's facing the direction you want and double click it and you can see that's now all gone kind of pinky orange whatever that colour is and that means that that entire edge loop is selected then what I'll do is just swing around to the other side I'm going to hold shift on my keyboard while I do this and double click again we've now got both those edge loops and double click there to get that one and double click there to get that one I've now got all four corners just to keep this even and make the topology make sense I'm also going to keep holding shift and select the two top edges and the two bottom edges that means that I've now got the front ring selected all the way around and also the one the back so this double clicking to select edge loops can save you a lot of time so remember that ok what we'll now do is add a bevel to this and this time I'm going to do that by using control and B on my keyboard so control B there is my bevel, beautiful little bevel and I'm going to drop the fraction on this to 0.2 I think will look nice yep that's nice enough so we'll go back into object mode on our table leg and I'm just going to drop it back into place for now or roughly where I think it's going to be that's pretty nice so we've now got our table leg done and it's beveled the last thing for us to do really is to add this to a layer so that we can hide it while we're working on other things so we'll do that by getting a marquee selection of everything that we're looking at down into our display panel down here where we can get layers create layer from selected give it a name so I'm going to call it furniture I think and save and that means that I now have the ability to toggle that on and off okay the next step we're just going to have a real quick look at what extrusion is before we go on to do some for our self so I'll see you in the next step for that in this step then we're going to take a quick look at what extrusion is in Maya it's mostly an information dump really but feel free to follow along so that you've got a good idea of what it is and how it works so the first thing I'll do just so that it's out of the way is turn off the furniture layer fine center on my grid and I'm just going to throw a cube down and then I'm going to duplicate it I don't need to rename these because they're not staying there just for example purposes okay so what I'm going to do with these two cubes this one here I'm going to put into face mode select this face here bring it forward and I'm also going to scale it up a little bit okay so that's what happens when we bring a face forward and scale it up what if we do the same but this time with an extrusion so I'll set the face and extrusion the icon here we're going to use for this is like that and then what I'll do is bring it forward and scale it up and hopefully if I just select them both you can see the difference between these two cubes when I did an extrusion on this one it added in an edge loop so what it's doing is creating extra geometry from that extrusion point and that's what extrusion is all around and you can do some really cool things with it this is how you can create things like curves you can extrude a long curve as well so if you wanted to create like a wire or something without having to do it painstakingly one at a time and there's a lot of really cool shapes to be made through extrusion that is the demo of what extrusion is hopefully you've seen the explanation that I put on screen as well and that will do it for this very short step for the next step we're going to be using extrusion to model our window so I will see you in the next step for that just get rid of these cubes we don't need them see you on the next step welcome back to part 16 wow we've already been through so much together I feel like we're probably best friends now so we've got a bond that will transcend the generations anyway as promised in this step we are going to create our window using extrusion which we touched on in the previous step so we're going to need to turn on our room layer for this so I'm just going to put a V there and we can see this is apparently the angle that I'm looking at my room so I'll just spin that around lovely and now I want to put my window in over here so in order to do that the first thing I want to do is put my room into or this wall specifically into face mode so I'm going to do that by holding the right mouse button and choosing face and then releasing the mouse button you can see now that each face is highlighted in red to indicate that I can select it so what I'll do is I'll select this face here on the inside and I also want to just swing around and holding shift and left clicking I'm going to select the one on the backside as well this is so the window will go all the way through we need to do this extrusion on both sides so you can see I've now got both sides selected you can also if you want to do a marquee selection like that through and that will select what's on the front and back of that selection ok so with those both selected the next thing we're going to do is extrude them so I'm going to get extrusion here from edit mesh and just click on extrude you can see the keyboard shortcut is controlling E and that's how I normally do it so there is extrusion so you get this little box over here this gives you some things that you can change and you also get this universal manipulator tool here you can see this has got a rotate scale and move all built in to the extrusion tool after you've done it which can be really useful so I'm going to use this tool here so I'll click on one of the squares for scale and then if I just bring that scale in you can see that that brings it in like that and it should be doing that so that it's flat and it's happening on both sides so I want this window to be fairly square so I'm just going to make it square and I'm just going to use the move tool on this manipulator as well to move it into place so I want to sometimes the move tools can be inverted on this one and it might be that so you can see there the move moves it up on one side but down on the other so I'm just going to undo that because I want them to be at the same height that's okay and I'll switch to the normal move tool and move that up so now we're going to change tools here to the move tool and then move it up and you can see that that now happens together and then I'm just going to scale it up so that this window kind of fills this area yeah, that's nice and what's good about this is that the geometry all still makes sense so I had one quad which is a four-sided shape here and I've now split that into I've got a four-sided shape here one here, one here, one here and one here so the geometry still makes sense and still flows now that that's done, I just want to delete both of the faces so I'm just going to hit my delete key and that now creates as our hole in the wall so that's our first extrusion done well done, I am really proud of you in the next step we're going to patch this up see what that's done is created holes inside we've got this hollow and we don't want that, we want some geometry to fill that so the next step will be all about filling holes, naughty as promised in this step we're going to set about filling these holes that we created here and I want to show you a couple of options of how you can do this and then you can just choose your favorite the first way that I'll show you is with a tool called bridge and in order to use that we need to right-click on our geometry and go into edge mode and I wanted to show that we can select them and we need to click on one edge and then I'm going to shift click on one of the parallel edges so I've now got those on both sides I'll just turn that move tool off and with those selected the first method that I'm going to show you is in edit mesh and it's something called bridge so you can just click on it and it will work you can see that's now bridge that gap and this gives you some extra settings that we do for this but you could add some divisions to it I don't think tapering will work without divisions or tapering won't work on the shape at all actually you can also in some cases twist what you've done and there are different types of curves so sometimes you can bridge I've used a bridge tool before to create like a handle on a cup and curve type can help for that so that's one way of doing it the other way which is actually the way that I tend to use more often is in mesh tools it's called the append to polygon tool and when you turn this on you can see that border edges these ones on the edge go a little bit thicker and that's to show you that you can click on them so you click on one and then click on the other side that you want to fill it in and press enter to complete that shape like so and then a little trick in Maya that I'm going to tell you now because I feel like we're close is if you press G on your keyboard that will bring back the last tool you so I'm going to use the append to polygon tool again to fill that hole there and then one final one here press G for last tool used click click and enter and that has filled that little window hole beautiful okay that then will do it for this step in the next step we're going to put a little bit of a frame in the window so that it's not just a gaping hole so I will see you in that step for some frame making this step is going to be all about completing this window by adding the extra detail pieces and we'll start with the frame we could create this out of different cubes or we could go through extrusion but I thought I'd take this opportunity to introduce you to a different primitive shape and also show you a way that you can edit the primitives initial values to give different results so we're going to start with a polygon pipe which wouldn't appear to be the ideal shape for a window frame but see what I do to it you're going to be amazed so we'll go to create pipe isn't on this quick shape shelf so if we go to create polygon primitives and there's pipe there and that will create it at the origin so I'm just going to bring it out of the ground and I'll just frame it up a little bit and then the first thing I'll do because I'm remembering at the moment is just call this frame lovely and then under inputs poly pipe one here's where all the magic happens to get this to look more like a window frame it's the subdivisions axis that we need to make a change to so I'm going to click in there and instead of 20 I'm going to change it to 4 and then it goes a little bit square yeah nice then I'll just need to bring the thickness down a little bit let's try 0.2 maybe 0.3 let's have it chunky awesome and now what I also need to do is at the moment it's in a diamond sort of configuration and I want it to be more in a square configuration so I need to rotate it in order to do that I'm going to turn my rotate tool on I'm going to bring it around 90 degrees on this axis so I'll hold down my keyboard just so that I get rotation snapping on there's 90 degrees there and then what I'll do is I need to rotate 45 degrees again I'll hold J like that and that then you can see is going to be something we can work with to create as our window shape at this stage though I just want to make a change this is now how I want the default orientation of the shape to be but you can see if I put something like the scale tool on it still thinks the orientation is like a diamond and we can do something to sort of reset the way that Maya sees the shape and it's called freezing transformation so what it will do is zero everything out and Maya will kind of see it as a new shape with this default configuration so if we go to modify and freeze transformations you'll see that's reset my scale tool everything here is zeroed out but these changes here have remained and now what I can do with this bad boy is stick it in the window hole so let's throw it over here somewhere where am I about there and I'm just mostly going to place this by eye so I will of course need to scale it up that's pretty nice make sure it fills the hole and then of course we need to just get the thickness under control we do want it to protrude from the window so the backside of the wall doesn't matter too much we won't see that but we will see the inside that's the important part yeah so that's pretty nice I think now that I've scaled it up though I do want it to be a little thinner so I'm going to do 0.2 on the thickness yeah so that's pretty nice for the main kind of window frame the next thing I want to do is to get something that will work as dividers for like 4 panes of glass and I'm going to do that with a cube so here's a new cube I don't actually know what these are called in window terms if there are any glazers watching the tutorial feel free to let me know I think I'm just going to call it divider and again I just need to get this pretty much in place placement doesn't have to be perfect because we can always change it later but getting it somewhere close does help and I just want to bring the size down like that yeah that will do to get me started I think and then the trick to this there is a trick is we need to select the faces so right click hold go into face mode and I want the faces around the outside just like that I do not want the front and back just those ones and what we're going to do is use extrude to bring faces out in each direction to create a four way divider shape so this time I'm going to hit ctrl and e for extrude this is going to bring this little chap up here and we need this keep faces together option so if I do local translate you can see that it brings it out in all directions at once and just kind of fills the hole which is not what I'm going for if however I change keep faces together to off so I'm just sliding it there and do the same thing look at that it gives us a four way divider just as I had hoped so now we can go back into object mode on that shape make sure it's central enough perfect and I'll probably just bring it forward a little bit like so so that then is now getting there that's starting to look like a window the next thing I want to create is a bit of a kind of feature piece at the bottom to make it look like a chunkier window sill I think they're called so that's just going to be a cube and we'll call it window sill is that how you spell it again in the comments if that's not how you spell window sill or if that's not what it's called let me know I can learn from this experience too so that's what I'm calling it for now let's kind of get it in place okay and when I'm happy with the position of it I'm going to size it up and I want this to overlap the window frame that I've already got so that we can't see it so we can't see the original and we want this to look bigger and chunkier than that so then we'll just scale it out so it goes all the way through that looks pretty nice and then just to make it look a little more interesting I'm going to select this face here and I'm going to just scale it up a little bit so that it's not too even there we go nice, oh it's nice one last step to complete the window then we're going to put a cube in that will represent the glass so one more cube we'll call it window glass good name I'm pretty sure I've got the name of that right and again I'm just going to pop it in place this one obviously needs to be quite thin and then we need to kind of get the depth so that it's in the middle of that that looks good try and get it central it doesn't really matter if it's perfectly central we're just going to hide the joints like that back into object mode oh I think I scaled it too much let's just bring the thickness back in yeah, looks nice at this stage things are starting to look a little too grey and difficult to see you've got a couple of options to make it easier to look at so in your panel menu up here you can turn on this which is wireframe on shaded or one way that I kind of like to do is this here which is screen space ambient occlusion it's like contact shadows so when you turn it on it just adds shadows to corners and makes things stand out a little bit more if you've got a weaker computer though then I wouldn't use that because it does take a little bit more processing to turn it on but I think I'm just going to leave that on for now so I can see where all my joints are that's the window complete then the next step the main purpose of this step was to introduce you to another way of extrusion really that's what the dividers in the window were all about about keeping faces together on or off the next step we're done with the window, we're going back to the table I'm going to use extrusion again to create a detail piece for the table leg so I will see you in the next step for that this step is going to be the final step in our trilogy of extrusion steps and we're going to be using it to create a detail piece for the table leg to remove some distractions we're just going to turn off the room geometry oh and this tells me that I forgot to do something so we're going to select our window piece like that we are going to right click on our room layer and add selected objects and that will just make those be hidden with the room as well then what we'll do is create a new cylinder and we're going to name this one table detail then what I want to do is take the subdivision axis down to 16 that helps with symmetry for this one next I want to just rotate it around so we're going to rotate it 90 degrees that way and we don't want it to be too fat something like that should be good to get started ok then that's the beginnings of our shape now what we need to do is go into face mode and I want to select the two faces that are kind of each quarter of it so the top two these two on the right hand side these two on the left hand side and the two on the bottom that will get us started then what we're going to do is do an extrusion so I'll hit control and E for that and I'm going to use the options in here exclusively for this part of the exercise just to prove that we can so I'm going to bring up the thickness like that so I'm bringing those those are the three that I'm interested in and then the bottom two faces I'm just going to select separately and I'm going to bring those down on their own so we'll do that and then I'll just bring the thickness out a little bit that's kind of nice make sure we're still in face mode and we're going to select the four pieces that kind of make up each part here one, two, three, four one, two, three, four one, two, three, four like that and we're going to use that to add a little bit of extra detailing so control and E to extrude again and this time we're going to use an offset whoa, crazy so I just want to bring it in a little bit so 0.2 I think is too much so let's try 0.1 nice, right so we've brought those out, that's lovely and now what we're going to do is these shapes here that we've created kind of like outlines I want to select these and these are going to be extruded as well remember you just hold shift and left click to select more than one of any component so in this case we did faces once you've got them all selected we're going to extrude again so I'm just going to come around this side so I can see how far my extrusion is going to go so we'll extrude and then we're going to change the thickness so I think in my case 0.1 looks nice yours might be a different thickness depending on what scale you're working to and what looks good to you but I'm pretty happy with that so I'm going to pop it back into object mode and have a look at my handiwork yeah that's kind of nice okay so we need to put that in place so I'm going to bring back my furniture layer there it is you can see that things aren't making perfect sense at the moment so I'm going to need to rotate this 180 degrees perfect and then I want to scale it and just put it so it sits here so we're going to bring it that way bring the size down make sure that it looks like it's protruding from the table leg that looks kind of nice and then just try and get it in place that's going to do it for that step then what I'm just going to do just to make it a little bit easier to see for a second is turn my grid off and now we've got some really harsher edges showing up in this shape here and again just like we did with making it easy to see with the ambient occlusion we can just make these harsher edges a little nicer to look at by clicking on this icon here which turns on your multi-sample anti-aliasing which just kind of hides the jaggies so if I give that a click that'll just make the edges look a little bit nicer not much nicer it turns out but a little bit that will do it for this step then in the next step we're just going to finish the table off make sure it's got two legs put maybe another detail piece on so I'll see you in the next step for that let's get this table finished then what we'll do here is mostly just duplication there's not much new here apart from learning how to mirror things using the scale essentially so we'll start with this piece here table this doesn't need to be mirrored it's the same on the front and back so we can just duplicate that as we would anything else with ctrl and d and drop it into place so to try and get this fairly symmetrical I'm just going to use my orthographic view looks about right doesn't need to be perfect it's an old fashioned table there would have been imperfections wouldn't they so now what we need to do is duplicate the detail piece so I'm going to duplicate this like so and move it over here and then you can see the scale on x is what I'm going to change because the detailing is only on this side it's not on the back side so what I'll do is scale x which is here it's currently set to 0.306 but if I change it to minus 3.06 it will not do what I expect and that's because I should have chosen a different axis so let's try scale z nope let's try scale y so we'll do minus on scale y that's got it so that has now inverted it the reason it didn't work is because I was trying to figure it out in world space which is this but in object space that was originally the y axis that was pointing up when we started so I just confused myself anyway let's now pop this detail piece into place and now we have detailing on both sides of our table wonderful so just to finish I'm going to do one final thing because the table looks a little bit odd to me at moment I'm going to add like a cross piece here to sort of hold it together so that's just going to be a cube luckily this is mostly centered for me so what I'll do is bring the cube into the center piece here I'm going to make it thinner then I'll drop it down then I'm going to make it longer like so and then scale it down a little bit and I think that looks ground maybe a touch thinner on this axis that looks pretty nice let's rename this cross pieces what I'll call it and just because I don't like it looking so harsh I'm going to go into edge mode and I'm going to use a marquee selection to get the four long edges it's not getting the edges that are now buried inside the table legs we're going to bevel that so control and B will do that and I'm probably going to put a couple of sections in this just to round it off a little bit and I will leave the fraction as it is because I think that looks quite nice so back into object mode that'll do it okay then, that is our table complete in the next step we're going to put it into a group so I'll tell you what groups are, why they're used in a group which will make it easier to position it into our room as a whole so I'll see you in the next step where we'll make a group in this step we're going to take all the different pieces of the table and then we're going to put them into a group in Maya groups are ridiculously useful because it means that we can take a number of pieces of separate geometry and then work with them as if they were one single unit so we can take all the pieces of the table and then we'll be able to move scale and rotate it as if it's just one piece but we're not actually combining the geometry together to be one piece which means that we can still work with individual pieces which is going to come in handy later for putting the textures on in order to put this into a group the first thing we need to do is select all of the pieces and I'm going to do that with a marquee selection so just drag a marquee around there and we can see that that's now selected all of my different pieces of geometry that make up the table brilliant! to put them into a group the command for that is in the edit menu and you can see it's just here called group but what us pro's usually do is just hit ctrl and g but because it's our first time we'll get it from the menu so let's give that a click there we go and we can see that that is now in a group and it's called group one I'm going to call it table group like so really good about this is if I now put my move tool on you can see that I can move all parts of the table as one piece which is good I can also rotate them all and they all rotate as if the table is one piece and again I can scale and that works again all as one piece the one last thing that I do want to show you before we move on is if we go to the outliner which we can get by going to windows and outliner on the left hand side of the screen all the other pieces of geometry in the scene are just separate entities in the outliner but the table now belongs to this group so at any point I can just click on this table group here and it will select the whole group and you can see that if I just expand that it's created a little bit of a hierarchy all the separate pieces are within that group which makes it really easy to work with there is just one other trick that I want to make you aware of while we're looking at the hierarchy if I click on any piece of the geometry that makes up the table you can see that it shows it selected here and then press up on my keyboard that moves up one level in my hierarchy which actually will select the whole group so at any point I want to select the whole table but I don't want to open my outliner I can click on any piece of it press up and then do whatever it is that I want to do ok we're all grouped but I don't like the position of the pivot which is where it is scaled and rotated from so in the next step we'll have a look at how we go about moving that to a more favourable position so I will see you there for that in this part we're going to take a look at what pivot points are and how we adjust the position of them so the pivot is this little chappy here you can see I've got it for this table group and it's the point around which an object will rotate and it's also where it will scale from so you can see if I scale it's all going towards that point and it can be really useful to be able to move that pivot point one of the most common ways that you will want to do this is just to get it into the centre of the object you have selected so because we've grouped this it's currently taking its pivot from this tabletop which is probably the first piece of geometry I created and you can see that when I click on the group the pivot stays in the same place it's not in the centre of the table as a whole to do that there is a nice quick menu command for it if we go to modify there is something here called centre pivot we give that a click and now that pivot is bang in the centre of all of this geometry which as I've said can be very useful in this case though it's not where I want it I want to be able to use snapping to get this table to line up perfectly with the floor of the room we've created so I'm going to move the pivot down to the bottom of the table what I'll also do just because I think it's good practice is I'm going to move it to one of the bottom corners which is often very good for lining things up to get into the mode where you edit the pivot you press and hold D on your keyboard like so and see it gives you this mode here and then what you can do is move this around in a kind of free hand way so if I move it over here and then put my rotate tool on you can see the table is rotating around that point of course that's not where I want the pivot so I'll just undo that there we go what I'm going to do is use vertex snapping when I'm in that pivot edit mode and that's going to help me put the pivot exactly where I want it so I'm going to hold D again but I'm also going to hold V at the same time you can see the icon here changes to show you that we're going to snap to something and then I'll choose one direction at a time so I'll start with my y-axis and this now as with previous snapping it really snaps to places where there is a vertex and the vertex I'm aiming for is that one there so I'll just put my mouse on it and Maya will get the picture then I'll do the same on the other two axes so hold D and V I'm now going to do my x-axis and aim for that pivot there and finally the z-axis there we go and you can now see that that pivot is exactly where I said I wanted it to be so now when I rotate it rotates around that point and scale it and this is one of the cool things about putting it on the ground now if I scale it if I put it in the ground first but decide that I want a smaller table I can make it smaller but it will stay on the ground instead of the feet of the table rising up so that can be really useful so now that we've got that in position we will turn the geometry for the room back on zoom out a little bit make sure I'm facing the right direction and now you can see that it's probably a good idea to take this table into the place that we want it to be first thing we need to do is just move it so that it's above the ground and now we can use that snapping to make sure it sits perfectly on the ground so I'm going to hold V for vertex snapping I'm going to grab the y-axis and now as long as I aim for one of these pivots that will sit perfectly on the ground and then all I need to do is use my move tool to decide where I want it so I'm going to place it somewhere so that the light from the window can hit it, something like that and I'm actually quite happy with the size so I'm not going to scale it up or down but you might choose to do so if you think that yours is a little bit too big or too little that is this step done then in the next step we're going to set about creating some things to put on the table beginning with kind of a potion looking flask so I'll see you in the next step for that this step is going to focus on using smooth mesh preview and then smoothing but in order to do that, we're going to create a glass flask with a cork in the top, kind of like you get a potion flask in fantasy games so we'll create like a little mana flask and we're going to do that by starting with a cylinder but just to make things a little easier to work with we will start by just hiding the geometry that is currently in there so we'll hide the room geometry and hide the furniture geometry but I haven't yet added these to the furniture layer so I'll just select them go to my furniture layer and then we'll right click on it and add these selected objects and that will hide them because they're now in a hidden layer right, let's make a start on this flask then so we'll create a new cylinder and what I want to do is actually reduce this geometry very very low as low as we can get away with so when the inputs for polycylinder 2 we'll set the subdivisions axis to 6 which is not particularly round but you'll see how this works in a little while and then what we'll do rather than adding extra geometry because we're going to need some subdivisions on the height we'll do this a bit more freehand using something called the multi-cut tool which can be used to add additional edge loops so I'm going to start with sort of getting the neck of the flask and at the moment I just don't have enough edge loops so in order to add one I'm going to click here on my modeling shelf which is the multi-cut tool and you can see that as you move your tool around it'll kind of give you hints as to what it can do but what we want to get a complete edge loop is we need to hold control on the keyboard whilst we're mousing over and that will then show you where it wants to put the edge loop and we want an edge loop that goes like this and you can see I'm doing it on one of the lines that runs in an opposite direction to the edge loop that I want so I'm going to put it about there, nice, right and then I'll just switch back to my scale tool I think and I'm going to right click on the shape and I'm going to go into edge mode and then I will double click on this edge just like the whole loop and then hold shift and double click on the edge loop above it so that I get both and then what I want to do is scale them intimate them thinner if I do that that's going to shorten the gap between them, I don't want to scale from the center I'm going to use this manipulator here which will scale on the X and Y so I'm just going to bring that together to make sort of a neck of a flask like that so now at this stage I want to introduce you to something called smooth mesh preview which we can get to by pressing 3 on the keyboard this gives us a preview of what our shape is going to look like once we have smoothed it as we're currently working on the neck I can see that at the moment it's not really defined enough and the way that we get more definition is by having more edges closer together so I'll now press number one to get back into non-smooth preview mode like so and then what I'm going to do is get my multi-cut tool I'm just going to zoom in on here hold control and I need to put some edge loops quite close together and you'll see why in a second so I'll put one there and then one at the other side so these are just what I call holding edges which will allow it to hold its shape so if I now press 3 again for smooth mesh preview you'll see that the top of the flask is now much more defined we're getting a better change in the shape what I want to do next is get a rounder sort of body to the flask and in order to do that I'm going to need another edge loop so what I'm going to do this time is just press number two and this shows me both the proper shape so that's the one on the outside so with my multi-cut tool on I'm going to hold control and aim for somewhere in the middle like that then I'm going to double click on that edge to select the whole edge loop and with my scale tool I'm going to bring it out and you should be able to see that that starts to round it off and then with my bottom edge loop just here I'm going to bring that one in and that now gives me a rounder bottom it kind of bubbles out in the middle and goes thinner at the top to give me an overall flask-esque shape I think I'm just going to bring out the middle a little bit more like so and then I'll press one so this is the shape that we've created it does not look very flask like but when we smooth it it will and we're going to do that next so you can see we've created what's going to be quite detailed geometry out of very very simple geometry there are only 1, 2, 3, 4, 5, 6 edge loops going up the height and only 6 going around so working in this way can mean that you can create geometry much more quickly and then you just smooth it to get the more rounded shape that you're looking for so before we smooth then let's just go into face mode and I'm going to turn off my motor cut tool and I want to select these faces on the top because I want this to be able to be open it doesn't always matter so much this but because I want to add what's going to be a fairly detailed glass shader later I want it to behave as I would expect glass to behave so we could select these 6 edge loops just by holding shift and selecting them one at a time but I want to show you another method which can be really useful if you hold tab on your keyboard you'll see that you get this little tool that pops up and if you just click and drag it will allow you to select all of them really quickly and then you can just press delete on your keyboard and they're gone right into object mode and we are going to do mesh and smooth so this is now going to smooth it which we'll get in the preview of when we press 3 so let's press that and you can see this now smooths it out you can see that the top is working out quite well and the silhouette around here is fairly round but it could be rounder so what I'm going to do is instead of having just one division again and we'll have two and that now makes everything much rounder much more smooth and something I'm happy with so that creates our first bit of the flask so we're going to go into object mode jobs are good and now we need to name this so we're going to call this flask glass and now you've got an optional step mine because I created it at the origin is already zeroed out so I don't need to freeze transformations but let's just say I created slightly off-center for some reason it's going to be important before we do the next step to make sure that we freeze the transformations everything needs to be zeroed out so we'll do modify, freeze transformations and you'll see why in a second because we're going to duplicate this, move it out make a change and move it back in and we need it to go exactly back in the middle because we're going to create the liquid that goes inside we will first of all duplicate this flask with control and D and then move it out of the way I'll rename this now to mana liquid I think so that I can differentiate that from if I do let's say, oh in fact no maybe not mana, I want this one to be health it's going to be red, health liquid then going into the four view by tapping space bar and then into the front view in this case I need to be able to see the shape side on I'm going to right click to put it into face mode and then you'll need to decide how full you want this flask to be so I'm going to have this one be quite full so I'm selecting all the geometry to delete now the rest is going to be how full the flask is going to be so delete that, lovely back into object mode and back into my perspective view the problem with this liquid now is that there's a hole in the top and we want the shader to be applied everywhere so we need to fill this hole Maya has a lovely little tool for this, it lives in mesh and it's called fill hole so we'll give that a click and that just creates some geometry to fill that hole at the top there and now we put this back inside the flask by changing translate X to zero you see that is now inside or sort of in line with the flask we're going to add some thickness to the flask to make sure the liquid appears inside which we'll do now so select the flask we're going to do an extrusion so I'm going to hit ctrl and E and then we need to add some thickness so if we just go out a little bit so I can see that 0.2 is far too much I think 0.1 will be as well yep so we'll try 0.01 that's probably not quite thick enough so we'll try 0.02 that'll do it so that now adds some really nice thickness to this flask I think what I'll want to do is just go into object mode I think I'm just going to add a bevel to the top edge just to soften it a little bit so we're going to go to edge mode double click on the outside edge hold shift double click on the inside edge ctrl and B for bevel and that's just going to smooth it out I'm not going to do any more to it that'll be fine the final piece of this particular puzzle is going to be a cork stopper that sits in the top to stop all the magic getting out so that's going to be a new cylinder ahh I've created an issue for myself so I'm going to have to put a little bit of thinking into getting this cork in the center because I moved the flask over so I could show you why we were freezing the transformations but it'll be fine I'll work with it so first thing I'll do is just rename it to cork I'm going to drop the subdivisions down because we don't really need any more than 12 there we go so subdivisions axis becomes 12 scale the whole thing down so that it's roughly the right size and shape and then we will try and just get it so that it lines up with the neck of the flask and then we'll just raise it above a little bit and I want it to be thinner at the bottom than it is at the top I'll do that by putting it into vertex mode selecting them and then scale them into the center not create that kind of slanted look and then into edge mode I'm going to double click on the top edge hold shift and double click on the bottom edge control and B to add a bevel I think I'm going to put two segments on this one and just drop the fraction down to 0.1 and now we probably go into the top view to get this position so let's just zoom in on this that actually is pretty central I think so I'm not going to worry about that and we will just drop it in place in a side view and I think I'm going to have to scale it up a little bit to make it look like it fits oh too far we don't want it to come through the glass that's important so I think somewhere it's not very central is it no it is not so let's just get that more into place that should do it not quite so now we have our stopper in our little flask so we have three pieces of geometry all of them should be named so I've got my liquid my glass and my cork named what I want to do now is just make sure that they all belong to the same thing so I'm going to use a method now called parenting instead of creating a group that acts as the thing that ties them all together one piece of geometry becomes the parent for the rest so in this case I'm going to select the liquid I'm doing it in my outliner because it's difficult to select the liquid now that it's inside that geometry so select the liquid, shift select the glass so you select the child first and then the parent I'm going to go to edit and parent and you can see that this creates a hierarchy for us so that when I select the glass and move it the liquid isn't left behind that's also gone with it and we now just need to do the same for the cork so select the cork and I'm going to do control and select to get the glass and that's because I don't want to also select the health liquid if I did shift and select it would select all three so select the cork, control select glass and then I'm just going to press P which is the same as the menu item and now anytime I select the flask everything's going to go with it and just to finish this step off we'll get it put on the table so with it selected let's bring back our furniture which is just going to be the table for now and let's bring it up above the table and it's a bit too big so we'll scale it down that was like a nice size and let's just place it on the table somewhere I'm going to put it over there for now beautiful that then is the end of this step the next step is another challenge so I will see you in that next step so that you can put your skills to the test welcome to modeling challenge number two taking what you've learned so far to have one flask and what I would like you to do at this stage is to create another flask so I will show you my example this is the flask that I created so I've gone for a slightly different more angular looking design I actually started from a cube with this one and I used some bevels to keep the detail in where I wanted it the cork is the same everything's parented as it should be I've got another cork and there is a liquid inside if I press 4 to go into wireframe that's there the hole has been filled just like in the previous one so this is now your challenge come up with a second flask design mine is a man of flask in this case so it will have a blue liquid in it when I'm done if you're not feeling ever so creative you can just create something that's very similar to the first flask you might do a bottle it's completely up to you but make sure this shows off at least some of your own creativity okay that's it when you're done pop it next to your other flask after this step we will get back to making something which will be a candle to add to our table as well so I will see you in the next step the new skill that I want to show you in this step is actually using something called soft select but we won't get to that until the end we're going to do a little bit of reinforcing of skills first and we'll start with hiding everything that's currently in the way so we'll turn the furniture off we'll be reminded that these flasks aren't yet so we will select them we will right click on the furniture layer and we'll add those objects now we're going to create a candle for our table we're going to start with a cylinder for the shape and we'll just give it a name straight away like so and we just need to scale it to a sort of candle shape I'm also just going to bring the subdivisions axis down to something like 8 should be plenty to help us to create a sort of random looking shape at the top of the candle like it's been burning for a little while to begin that then we need to be in face mode and we select all the top faces like so and then we're going to extrude them in and then down to get sort of I think it's called tunneling when candles sort of burn in but leave a little bit around the outside so we'll do control and e for extrude I'm going to add a little offset what do we want 0.3 and then I'll extrude again and just push the inside down that's going to create the beginning of our sort of candle shape so then we're going to go into object mode for a sec and we'll press 3 which is our smooth mesh preview so the top of the candle is not looking too bad and that's something we can mess with later but we need the bottom of the candle to be flat and it's currently not and I'm going to show you how you can make that more flat we'll go into edge mode like so and double click this bottom edge and we can give Maya a little bit more information about when we smooth our shapes how much we want them to be smooth and we do that with something called the crease tool which is extremely handy that lives in our mesh tool so if we just select mesh tools and go to crease tool and your mouse pointer changes to this funny little triangular arrow thing it looks like the ship from asteroids and what we're going to do is with the middle mouse button just press and hold it and then drag left and right and you'll see that goes from smooth as far as it will go through to don't smooth at all and in this case we don't want it to be smooth so we're just going to leave it there and that's how we're going to tackle the bottom of the candle now the top I'm fairly happy with so I'm going to leave that alone but we do now need to go into I think vertex mode and we're just going to drag some vertices down so I'm going to select let's say these two put my move tool on and drag them down no I don't like that we're not going to do it in vertex mode let's try edge mode so we'll get this edge and drag that down yeah that's nice that is more favourable so we're going to drag that down you see this is now going to give it the impression that this candle has been burning down so I'm going to select the front and back of these edges and pull those down yeah that's making it look all kinds of gnarly same with this one but I'm now going to do a couple and I'll probably take these centre pieces as well so I'm just doing like a bigger section of the candle here ooh nice and we'll get this bit over here I don't want it to be up too high and just have some fun with this so try selecting different edges bringing them down we just want it to look kind of random like it's been all melty and stuff ooh nice bring that bit down yeah bring this bit down, yep oh it's so good and when you're happy with it that'll be the time to stop I'm pretty happy with that so that's going to be the top of my candle so I'm going to pop it back into object mode press number one and see actually it's a bit of a mess and there are things overlapping that's not an issue because I'm going to smooth it so I'll do mesh smooth and this will just average out those horrible gnarly bits that are too crazy you see now that makes a lot more sense you can see that the geometry flows where it's supposed to kind of nice I like it ok so that's my sort of basic candle shit that I'm happy enough with next I need a wick so let's create a wick the subdivision axis on this doesn't need to be any more than 8 really there we go and we're going to put this into place scale it down make it nice and tall so this is just something for our flame to sit on it's going to be nice and thin if you want to you can add some subdivisions and I'd like a little bit of a bend to it I'm not going to do that because I can't be bothered ok so there's our wick I'm going to select it and guess what I'm going to call it but you can't guess that's right wick and now we're going to create the last shape and this is going to be where we're going to use this soft select which is kind of the point of this step we're going to then create a flame using this so let's create a sphere for our flame and we'll just drag it up to roughly the right place name it and under the inputs we're going to drop the subdivisions down to something like 8 by 8 nice we're just going to scale it down a little bit more and just make it a bit taller that should work nicely so we are going to make this smaller when it's done I just want to be able to see it quite clearly ok what I would like you to do is go into vertex mode and select the vertex on the very top now we're going to be moving this up in a minute and you can see that at the moment that is not giving us the desired result we want this to look like the top of a flame it's just making it kind of spiking what we're going to do is turn on soft select which will influence the vertices around it and there will be a fall off to that so the closest ones will be influenced more the ones furthest away will be influenced less there are two ways of getting soft select turned on the menu way is double click on your move tool it will bring up your tool settings and there's a soft selection option here and you can just turn it on you'll see that your mesh goes yellow I never really use that way the way I use is to press B and that will toggle soft select on and off ok so this turns it on but the problem is it's influencing the shape too much we need to be able to control the area of influence to do that you hold B and you left click and drag to the left and then you can see that's making you can see the circle indicating the area of influence so I'm just going to let it go to about there I think so yellow influences a lot all the way through to black which is hardly influencing it all and then if it's still in blue it's not being influenced even a little bit and then we're just going to drag that up and that will give it a more flamey shape overall then I'll press B to toggle that off I'll go into object mode and I'm just going to scale and position this flame so that it makes a bit more sense happy days just drop that down a touch more lovely right it's now up to you what you do I'm going to pop these into a group I think you can parent them if you want so everything's selected control G and I'm going to call it candle group I will then just get my pivot so that it's down at the bottom so I'm going to do D and V on my keyboard and then move the pivot all the way down and that's ready to go and the next step according to my notes we're going to be creating a candle holder so I will see you in the next step for that in this step and the next step we're going to be creating some more objects to go on the table but we're going to be looking at a slightly different approach to modeling and that will be through using NURBS curves and surfaces and we'll get on to what those are all about shortly first of all though I just want to do something with the candle so it's not in the way whilst we build our candle holder so let's just turn back on the furniture I'm going to click on a piece of my candle and press up on my keyboard to select the whole thing and just for now I'm going to pop it out of the way I'll scale it down a little bit as well because why wouldn't you and we'll just leave that there for now and we'll just add it to the furniture layer so I'll right click on my furniture layer and add selected objects so that I can hide it ok let's have a look at how we're going to model our candle stick holder so I want to be in either my front or side view for this I'm going to go for front and let's find the centre of my grid here and what I'm going to do this is a really clever little trick it's called revolve so I just need to kind of draw one half of the silhouette and then Maya's magic is going to do the rest so I'll give you an example of what I mean so let's just go to create you can see here there are curve tools and I'm going to be using the CV curve tool for this and for this we're going to create kind of a candle stick holder I think that's what they're called I don't know but I'll start down at the bottom so I'm just going to do something like this and I'm going to keep my clicks quite close together and this will look like a messy curve by the time I'm done but you'll be surprised at how forgiving the results are so I'm going to do something like that and then go up to that shape there and come out a little bit and back in a little bit more then we'll go up like that we'll come out again a little bit and then out for the top something like that and then when you're done press enter and this gives us a curve and you can see that I've got a bit of an outline you have to imagine this is going to be mirrored on the other side and then the revolve tool is going to fill it in for us and again it looks very messy but generally this technique is quite forgiving of the messier curves in order to get this to work then what we're going to do next is go to surfaces so we're still in our modelling menu we'll go to surfaces and there is this little thing here called revolve first thing I'd recommend doing is just try clicking on it and see if it works and in my case it does but if it doesn't just go to surfaces revolve, click on the little options and you might just need to change the axis preset if it's doing it in the wrong direction but as I've already shown in my case why is the correct direction so we'll just click on revolve and if I deselect that to have a look at the overall shape you can see that it's all those uneat imperfections that make this look like quite a detailed shape so now you just imagine our little candle sitting atop this it's going to look pretty cool right with a nice sort of brassy pre-goldy sort of metallic texture on here it's going to be the bomb but this is not finished I generally work with polygon modelling because I might want to take it into a game engine which don't really accept nerbs models so I'm going to convert this to a polygon model first of all so I'll come back into my perspective view just click on the nerbs shape I don't need to rename it yet because I'll be deleting this in a sec this is just like a starting point so with it selected I'm now going to go to modify near the bottom is convert and you can convert any nerb shape to a polygon shape and it will just do this automatically we don't really need to worry about the settings for it so I've clicked that and then what I will do is just with my move tool move it to the side so this is now our candle holder shape this was just what we used to get started so I can delete the curve and the nerb shape they have served their purpose now what I want to do is just put this back to center so I'll just zero those out and at this stage the mesh is quite difficult to work with because it's mostly triangulated and it's quite uneven what we really want is something that is a bit more even and quadrangulated so back into the square sort of mesh that we've been using and luckily since about Maya 2019 actually it might be new in this version it might be Maya 2020 there is this new tool which will just do that automatically it lives in mesh and it's called retapologize and you can go into the settings and try and tweak them but I think the default setting should be fine for this so we'll just click on retapologize it will take a couple of seconds but then you can say that it has created the same shape for us but using quads we might have lost a little bit of detail but I'm fairly happy with that result so at this stage then there are only really two more things that we need to do to finish this off and that is to fill the hole in the top and the bottom we've had a look at the fill hole tool previously you could use that again but in this case I'm going to show you a different way which gives you better topology because your edge flow keeps going so we're going to put this into edge mode I'm going to it looks like I've still got my soft select tool turned on so I'll hit B on my keyboard to turn that off and then double click on the top edge that will select all the way around then what I want to do is extrude that so I'll do control and E and that has just highlighted an issue for me every time I do something it's going to retapologize it which I don't want so I'm going to undo that it will retapologize again but before I do anything else to this shape I want to delete the history to stop it from doing that because this poly retopo in the inputs there is going to make it take ages every time we make a change so we're just going to go to edit delete by type history that removes that and it means that when we make any further changes that won't be an issue so let's now go back into edge mode double click the top edge and we'll do extrude there we go I now want to bring these in together so trying to use these tools such as the offset is not going to work because of the direction that the normals are facing so we need to switch to our general scale tool and we'll just scale it in to the middle you can see that if we go all the way to the center that will seal the hole but I don't want to go all the way to the center I want to leave a space to show you how I'm going to seal this properly this is going to be completely watertight so with that edge row there still selected I'm going to convert to that selection to vertices and we can do that by going into select you can then go to convert selection to vertices and it will change that edge selection into a vertex selection which is half the job done then what we will do is go into edit mesh and there's an option to merge to center and that now has taken all those vertices and merged them into one which is the same sort of setup that you would get on top of a cylinder so that then is perfect and then we just repeat that on the bottom so edge mode double click extrude, scale tool scale in a bit select, convert selection to vertices edit mesh and merge to center and that is our candlestick holder thing created, I think actually this edge on the top is too sharp I'm not a fan of that so I'll click on that edge and we'll just put a little bevel on it so I'll give it a few sections and we'll just knock the fraction down to about 0.2 yeah that's better okay let's rename it and then we'll make it part of the overall table layer so we just need to bring that layer back we're obviously going to need to scale this holder down a little bit so let's bring the size down we'll drop it somewhere near our table, we can position this all a little bit better later so I still think that's too big, let's bring that down a little bit, that's better and then we will get our little candle press up on the group to make it all move together and then we need to just put that on top so just to get this lined up a little bit I'm going to use my top view there we go and to get the height correct I'll use side or front view so we can see that's a little bit above so we'll just drop it down lovely job I'm not ever so happy with the proportions the candle looks too fat for the holder so I'm going to bring that down to something like that I think that looks nice and now I want the candle stick to be part of the candle group so in order to do that I will open my outliner windows outliner there's my candle holder and what I'm going to do to add it to the group is with my middle mouse button I'm going to click and drag onto the candle group and release all part of the same group so at any point I select that whole group it will all move together and we will just place this to one corner of the table I want to get the height right now there we go and then I'm going to duplicate that so that we've got two candles in our scene so control D and we'll put the other one over here and I'm just going to bring it this way a bit so that it doesn't look too perfect there we go this is starting to come together that's this step complete then in the next step we're going to be using curves and nerbs again to create an opened out scroll that our sorcerer might be reading from or writing on so I will see you in the next step for that in this step we're going to be using nerbs again to create a fantasy looking scroll to be laid out across the table so in order to set up for that first of all get the furniture out of the way I'm going to then go into the front view for this find my origin there it is and I'm going to need my curve tools again so we're going to go to create curve tools and we'll do CV curve and I'll just show you how I'm going to put this together so I'm going to start over here and I'm just going to do lots of clicks round in a circle like so I'll get a nice spiral oh mmm that will work actually let's if you put any points in that you don't want you can hit backspace to get rid of them so I wasn't a fan of some of those ones and then I want to just get down onto the sort of level area like that you can if you choose to if you want this to be perfectly flat you can choose to press X when you click and that will snap it to grid points so I'm just doing that now so we're going to go over here go about that far and then I'm going to bring it up like that and just quickly get my spiral on okay and that's going to create that not symmetrical, wasn't aiming for symmetry might look a little bit strange we'll see but that gives us our curve to start from now we need to go back into our perspective view find the curve there it is and we need to duplicate it we need to have two sides to this so it's going to represent the top and bottom edges so I'll duplicate it and we'll move it up to about there that looks like a good distance and that's going to create the information that Maya needs in order to do what's called a loft between these two curves so I'll first make sure that I select them both then I'll go into surfaces and just simply click on loft and what that then does is create some geometry between those two curves you can see that works out pretty nice as I did with the candle holder what I want to do now is just convert this to polygons so that lives in modify convert nerves to polygons and then we're just going to move that up there then I can get rid of the nerve surface and the curves that I used to construct the polygons get rid of that I'll just drop that back at my origin for now what I'm going to do at this stage is quadrangulate this so I want this to be back into quads and I'm going to do that like it in the previous step with retopologize because that's going to give me nice evenly spaced out quads and it should keep the shape as I've already got it so we'll click on retopologize see what we get yeah and I think that looks pretty nice the next thing I'm going to do because I actually want a little bit more geometry on this especially across here just in certain places you'll see why in a second so I'm going to go into our multi-cut tool for this hold control so that it's going to let me put edge loops in and I'm going to put edge loops in near some pre-existing ones you can see I've made a mistake there because it's doing the retopologize just like it did with the candlestick holder so that means that I need to delete the history on this before moving on so I'm just going to put it into object mode and then go to edit by type and history now I can go back to my multi-cut tool and put some of these in so either side of pre-existing edges I'm going to put in some new ones that should do it and I will show you why I made that change so if I just now go into vertex mode I want to make this look a little bit tatty around the edges so I'm just going to bring in some edges so I'll bring that one in there probably on the scrolly bits here as well just to make it look a bit aged we don't want this to be too perfect do we? no sorry so let's just crud this up a bit and you can spend as much time on this as you want but we just don't want this to look too perfect perfect is bad so let's go into object mode and see what we've got now at this stage you want to explain something to you you might be being bothered by the fact that this side here is showing up as nice grey as we would expect it to be but the other side is coming up as this awful black colour this is Maya's way of showing us which is the backside of the face polygons are actually one sided and if we were to import this into a game engine this area that's black actually wouldn't be rendered at all so Maya's kind of giving us a warning there are two solutions to that you can either extrude the shape and add some thickness to it and back polygon I don't want to do that in this case the other solution is to render both sides of the polygon so in order to do that we're going to go into lighting and we're going to turn on two sided lighting and that will now render both sides of this scroll as we would expect it to I think that's looking pretty nice we threw that together quite quickly let's give it a name scroll and let's bring back our furniture and pop it on the table so we're going to need to shrink it a little bit it's a bit too big at the moment and we need to just do our best to get it in place so let's just go into the top view for this so I'm going to put it here I'm also going to rotate it a little bit because there's nothing worse than things looking too perfect so we'll go for, drop it over here and put a bit of a rotation on it and then we're going to go into this view here we need to be careful about this because we don't want this to clip through the table, we need it to be just above it so there's actually going to be a little bit of air between it like that okay that then I think is starting to come together pretty nicely the last thing I'll do in this step then is I'm just going to add our new scroll to the furniture layer so let's go add selected objects which means that I can turn those all off and that's going to get us ready for the last thing that we're going to add to our table together which is going to be a book so I will see you in the next step for that in this step we're going to add one final thing to our table together which is going to be a book and to be perfectly honest you won't really learn much new in this step specifically but it does set us up for more variety when we're covering things like materials down the line so it does serve a purpose anyway let's jump into it so I'm just going to turn off the furniture and also the room and what I'm going to do is create a cube this is going to form what our book will be so I'll just rename it book straight away and I would like to have some subdivisions on the height so just two, I want the centre line and you'll see why a little later then what we need to do is just using our scale tool we want to get this into a bookish shape that's pretty bookish that gets us started now what we want to do is work on the spine of the book so we'll do that by going into edge mode and selecting the top and bottom long edge and then we're going to bevel them I'm going to add a couple of segments like that that's pretty nice so that's the spine done next we'll create the pages so for that we need to go into face mode all of these faces around the side apart from the spine we're going to leave the spine alone and then we need to do an extrusion we're going to add a little offset 0.1 should do it yep and you can see that's created a bit of a border added some thickness to our cover then we need to make sure that there's less thickness on these pages so that they're in set a little bit so we're going to do that with another extrusion and we're going to go in on the thickness a little bit so minus 0.3 actually looks quite nice there so I'm happy with that and now you're going to see what this center line was for so back into edge mode we want the pages to look like they're a bit curved as well we'll do that by moving this center line in a little bit something like that that's obviously too jagged so we also need to bevel it so let's bevel that and we're going to add some segments to it and get the fraction to somewhere that we like so that's pretty nice and that then is a quickly created but very handsome book it's all as one object and what we need to do now is get this onto our table somewhere so let's turn back on the furniture we'll pop the book somewhere resembling the right place what I'll do for this one just to make my life a little easier is I'm going to move the pivot point down to the bottom of the book and that should mean that snapping it to the table is also easier and then we can just scale it down and put it into place what I want to do is create an arrangement of a couple of books 2, 3, 4 books on the table just to make it look like there are a number of books so I'll put one there, I'll duplicate it and then let's move it over this way a little bit we're going to rotate it around and this one I want to look like it's leaning on the other book let's see, is that going to work perhaps, so we'll move it up a little bit it's good and we'll move it across how's that look not happy with it so now I'm going to rotate it just in my top view just something like that that looks kind of nice let's just try and get it in place that looks good and I think I'll try and add one more, yeah that looks pretty nice so we can leave that there for now and I will see you in the next step for your final modelling challenge before we move on to creating some materials so, see you in the next step welcome back to your final modelling challenge challenge number three and the challenge this time is to add something to the table so this time it's your chance to be creative maybe you could create and add something like a mysterious looking key some weighing scales, maybe for potion making maybe like an hourglass, you know the ones where the sand falls through you might do a quill link bottle or something like a pestle and mortar for like grinding up herbs I've gone with the pestle and mortar I'll just show you what mine looks like there we go, so I've added that in there fairly simple shape it was mostly just a sphere that I edited and did some extrusions on and also the the mortar is just a cylinder with bevels on the top and bottom edges, nice and straight forward but it adds a little bit more character to the table so over to you add something cool looking to your table, make it your own and I will see you in the next step where we'll start thinking about getting some materials see you there for that one welcome back, how did you get on with the last challenge, hopefully you created something that just looks sick I'm sure you did, I believe in you let me know in the comments how exactly did it go anyway we're now moving on from modelling and we're going to get on to creating materials first of all and as we step up in complexity with that we'll also get on to UV mapping but in this step it's going to be all about creating and applying our first material and also just get into grips with a new part of the workspace which is known as the hyper shade, to be able to create new materials then we need to get into the hyper shade, there are two ways of doing that that I know of, although I'm sure there are lots more you can go into windows rendering editors and you've got the option for the hyper shade there or the way I always get it is I just go to this icon here and give it a click this then opens up your hyper shade I'm going to make it full screen just so that what you have to look at isn't too confusing and this is the central working area of Maya where you can build shading networks which are basically materials by creating editing and connecting different nodes such as textures, materials, lights etc you can see that it's split up into different sections known as panels and I'll just give you a brief overview of what each panel is so currently across the top here this is known as the browser and this just lists the materials, textures lights that you have in your scene and there are tabs up here so that you can move between the different types over the top right you have your material viewer and if you click on a material for instance Lambert 1 it will preview what that material looks like in this shape by default it will be this handsome thing here called the shader ball although you can change it to something else over on the left here we have the create tab this lists all the different nodes that you can create and use to build your materials this big space here is the work area and this is where you can see all the nodes, how they're connected, make new connections it all is represented visually here and in the bottom right you've also got a property editor and this allows you to change the properties of whatever you currently have selected in the hyper shade there's also one other little thing down here in the bottom left of your screen which is bins and all that does is allows you to organize and track the shading nodes in your scenes you can sort them into different bins although it's not something I use so that's the basic overview because I'm working on one screen rather than working over two hours I would normally do I'm also going to open and add one more panel to this to make it a little bit easier to work in and that's going to be a copy of our viewport to do that I'm going to go up to window and I can create a viewport also if you ever lose any of your panels you can just reopen it by selecting on the option in here anyway I want to viewport so I'll click on that you'll see that it opens it as a floating window and if you drag it around you will see the interface move around showing you where you can dock this and you can dock it wherever you choose but I find that I don't need quite as much space for my browser so I tend to put it to this side of the browser and then I just resize it so I get a bit more of a rectangular view that matches what I would have in my main view like that and that's just lovely so I would recommend adding your own viewport and then just put your mouse in here and press 5 and you'll get the same shaded view as you get in your main Maya workspace what we'll do now then is create our first very simple material we're just going to add what's called a Lambert you can see we have Lambert 1 here this is that default grey material that's applied to everything and we're going to create a new Lambert that we can just change the colour of my advice to you is never change Lambert 1 any changes you make to Lambert 1 as you can see here happen to everything generally that's not something you want to do so what we'll do is create new materials and apply them so over in our create panel over here you can see that there's the option to create a Lambert so I'm going to click on that just the once a new Lambert is created up here it's Lambert 2 we can see the nodes that make up this Lambert here in our workspace and over here we can adjust the properties for it the first thing I will adjust is name so I'm going to call it m underscore and then give it a name so in this case I'll call it floor and then I will press enter to make sure that that name is saved now I can change the properties of it there aren't many properties for this it's pretty much the most simple type of material in Maya all I want to change is the colour so you can change the colour to black or white using this slider or if you want something a bit more extravagant than something between black or white you can click on the swatch here and choose whichever colour you want so I'm going to go for something that's kind of brown browny coloured so I'm going to go for red and then I'm going to take this round into sort of the orange orangey spectrum and then from here I'm going to drop this down towards black and that will give me a dark brown which is what I'm going for that's it you've created your first material the last thing I'll show you is how to apply it and you must make sure that you press the right button for this to work so over here this is our complete material and I'm going to click and drag that onto the 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'll actually replace it later I just wanted to start with lambas 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 that'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 result 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 ones 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 into 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 of the ones from gold and instantly we'll get a preview of how that's going to look in our material viewer here and you can see it looks much nicer than that dull gray 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 at 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 and 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 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 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 to 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 in the browser 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 created material, we're not going to call it M underscore brass, we'll call it M underscore what would you have end table piece, let's call it copper so we cut 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 one now create our copper, at any point you can now go in, so you can see the roughness 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 we'll enter our presets and I think there is a wax in 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 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 we 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 we're 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 we'll get on to what that is a little bit more later but if that doesn't work for you just go to 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 and what we need to do is clear our workspace we're then going to go into our Arnold shaders section again create a new AI standard surface material give it a name so this one's 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 I'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 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 and 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 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 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 chose 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 hyper shade 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 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 color then this is what we'll 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 D underscore floor underscore D the D denotes 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 sand stony 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 and you can see that's now made a change to the way that that looks we're going to add 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 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 ok 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 I 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 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 planar projection we're going to start UV mapping I'm 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 onto 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 planar projection on the floor so we're going to start by having the floor selected obviously I'm not in my hypershade 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 planar 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 planar 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 show us the way the UVs are at the moment for the floor so they've 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 planar okay 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 planar 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 ctrl 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 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 hypershade so I'm just going to go back into object mode here and then into my hypershade 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 to material available so what I'm going to do just in case you can't still see you 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 nodes 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 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 will 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 and 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 hypershade 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 maybe zoom out a little bit 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 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 and that is 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 project there you go you can 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 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 hypershade first of all we'll clear the graph 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 color 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 bubbly look to it so I'm just going to load this in again make sure we choose tangent space normals load in 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 this ring 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 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 I did that band there and 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 or cylindrical you will see that 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 say 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 I'll get it from that menu there we are going to go to UV shell most I'm just going to right click in here go to UV shell each one of these pieces so we've got the top in 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 will hide it or I can show it so with these shells 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 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 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 like so and we're going to use T underscore wood 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 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 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 and 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 wood grain 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 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 map 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 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 I'll swing around to the bottom hold shift and select the bottom face so I'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're moving to 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 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 round 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 on 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 will 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 textal 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 ctrl 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 gone I can 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 arrange and 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 telling us 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 so and then I'm just going to click on stitch together you can see that 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 by 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 unselected 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 so I'll do the shift and full stop trick selected 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 but there's not 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 that gives me two 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 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 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 for these two shells I don't like them let's just minimize some of these sections a bit I'm going to unfold and click on optimize 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 I'm going to select both the shells so that I get them symmetrical change the mass 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 so we need to get these to be laid out to get the textal 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 I can see more distortion here so let's just try and optimize this again see if it goes any better it has gone better so yeah, 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 show last hidden and now with these two pieces selected I'm going to do one more layout to get the text identity 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 what the 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 to the geometry click on the checker button for bump mapping, choose a file make sure we're on tangent space normals, click on the little arrow next to bump value click on the folder and let's bring in our table normal map yeah ok we're going to add that to that piece there and that piece there and let's have a closer look at it 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 ok 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 you'd see that I've got another one so I could do it that way and that would be fine 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 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 I'll just click on apply you can see that it does something but it's not doing 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 description below that will give you access to my project file if you go into my source and we just folder you'll be able to see all these textures just copy them into your source and we just 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 we're going to use this 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 tangent space 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 let's do that first there we go M underscore scroll but it won't look like it's on there you see the color changed slightly what has happened is it's showing this part of the material not this part so we're done with the hyper shade for now 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 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 ok 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 let's just go into object mode I'm probably going to get like a white bit somewhere there it is which I don't want 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 and the 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 planar one 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 and then I'm going to let me just turn this on so you can see it better I'm going to scale this down get it to be the right height like so and then I'm just going to 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 yeah ok 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 and I'm just going to put it 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 and I'm going to double click on the top edge and I'm doing it on my middle shell so double click on the no click once sorry I'll click once on the top edge and go down to the bottom hold shift and double click on the bottom edge and then I'm going to cut and sew of my UV toolkit and do 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 in the next 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 unselected 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 if I go into face mode this face here you can see as 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 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 so I'm going to 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 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 and 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, so let's go into shell mode and I'm just going to straighten the UVs because they were a bit wobbly but 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 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 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 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 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 on to 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 hyper shade for now ok this here is the top of the book but it's got the back cover on so that's what we'll 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 the whole jr my keyboard and rotate that around 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 but as long as I select these groups of UVs at the corner as you can see 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 which is 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 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 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 R and let's end with finding our geometry bump mapping file tenant 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 that 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 and 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 of 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 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 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 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 if you're using my textures, if you have a look in the source images folder you'll see that I created a couple of colour 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 go 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 and you've got all the remaining parts of your scene well UV mapped and beautifully textured if that's the case then it means that you're now ready to start adding 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 the first thing I'm going to do then before I add any light 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 them so we're going to go up to create into lights and there you can see there is a directional light so the first thing I want to do is just click on that and you will see that we get 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 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 seven on your keyboard so six will turn your lights back off and seven 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 that's a pretty nice angle so that gets us started what you can also do with lights is change the color 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 color swatch we'll give that a click and because I'm looking to 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 there's an icon for that which is just called shadows if we give that a click you can now see where the lights 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 I think 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 were 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 in the Arnold settings here you just need to make sure 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 steps 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 hypershade 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 the next important thing 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 HD 540 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 HD 1080 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 ok so that will 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 supersampling control, the higher the number the cleaner your render will look because it takes more samples 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 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 and we turn that off I think I want to go just slightly brighter on the light this should be a dark 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 so what this is doing is just sort of filling in the background and we can see 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 that I've turned this transform off just turn it back on the keyboard to get the more flat light as well and we're going to create 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 let's get it in place so this has to be quite precise so I'm going to do this using my orthographic views so let's 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 let's 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 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 illuminate 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 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 yep 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 just go into Arnold make sure it's casting shadows so that means that we're ready now to try 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 photorealistic 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 photorealistic 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 can see that the shape of this is respecting the size of our window that we set it to when we went into the render settings 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 that are 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 anyway what's good about this is that this is interactive so now if I make any changes to my scene so let's just I've got my light selected if I move it over here you can see in the bottom corner that 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 control and z to undo put the light back and that will start rendering 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 render 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 so 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 I'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 so 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 let me 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 used this so let's make them a bit biggerer 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 we're going to go to mesh light 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 so at the moment it's just giving us a fairly basic 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 color so instead of just changing the color to be a uniform color 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're going from black to white so if we click on black we're going to make this a fairly deep red color and then we'll bring that up to about there so you can see now we're going from red to white next color 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 color so let's go somewhere in the orange spectrum that's pretty nice now I need another color in here let's click somewhere in this little rectangle and that will bring up a third color this one's going to be quite yellowy that's kind of nice and I want another color 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 I might move these a bit further apart get a bit more yellow in there yeah that's cool so that sets up the color 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 that 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 and 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 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 trial and error until it looks right what looks right for me might not quite look right for you so use a bit of your own judgment 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 the 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 there we need to simulate like 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 this 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 and 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 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 and 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 ok 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 directional is 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 colour 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 colour 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 it actually looks better in the scene than it does there and then 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 there 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 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 render is coming through you can see that it's giving a much more natural look to the scene of light cascading through the window going 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 knock 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 I think what I'll do at this stage is I'm going to render all 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 kind of 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 even more 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 that's going to do it for this step then the next step which is going to 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 going to 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 going to 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 and the skydome light that we've just used so again we're going to delete the skydome light because I don't particularly want it for this and we're going to create a new light this is another Arnold light so it's going to 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 windows 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 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 this has been 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 drinks 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 glowing 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 IPR 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 ok, 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 ok, so I'm looking for m underscore health liquid here it is, 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 light so we need emission for this we're going to choose a pretty bright red colour 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 we'll change it if we need to I'll just repeat this for the mana liquid then so I want to change the colour to a blue we'll just go for that deep blue colour 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 colour so I'm going to make it a light blue for the blue liquid and for the red liquid I'm going to make it a light red so we'll choose our red colour 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 minimise 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 to see how they come out that's how it's coming out for now which I think looks pretty good the liquids 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 we'll go into flash glass 1 and get the liquid and I'm just going to use my scale tool and 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 and on the health liquid we'll do 200 again and then we'll see how this is looking so that rendering is 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 are 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 and we're 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 the light 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 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 renderer 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 mana 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 renderer 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 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 we'll just 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 and I 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 renders 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 myer up, how to create 3D models how to UV map and texture them and then how to make your work look super sexy with lighting and rendering that is some seriously impressive stuff 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 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 would like to give PluralSite a try use my link in the video description to get a day free trial that's long enough to complete two or three 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