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Blender Basic UV Unwrapping Tutorial (Donut Part 6) — Transcript

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0:00The time has come to UV unwrap and
0:02texture our mug. So, we did a little bit
0:06with our icing, our donut, and our
0:08plate. We got most of that for free.
0:11Um it those were very simple objects.
0:12This is a little more complex, so we're
0:14going to have some fun with it. So,
0:16first things first, we need to apply a
0:17texture to it so that we can see the UV
0:19unwrapping and see that it's working
0:21well. So, I'm going to hit N to bring up
0:23my properties and uh I'm using the
0:26polygon add-on and I'm going to apply
0:28the ceramic texture that we're going to
0:29use. So, the free one that we're using
0:31for this tutorial you can find by typing
0:32in donut 5. That'll bring up all the
0:35ones we're going to use in this
0:36tutorial. And uh the one we're using is
0:38this one, this rustic gold uh ceramic
0:41texture. So, I've already downloaded it,
0:43so you'll see uh download. It'll look
0:44like download like that. Um and then
0:47with the mug selected, you want to hit
0:50apply. If the mug isn't selected like
0:52that, you'll see import, which would
0:53just like load it in as a like fake user
0:57material that you could reference. But
0:58anyways, so select the mug and then say
1:00apply. And now we can close that and
1:02let's take a look. Now, you might be
1:04surprised at how well that came in.
1:06Like, the handle's no good, but the rest
1:08of it is semi okay, right? There's some
1:12stretching on the rim and the base, but
1:14like why did that come in okay? So, if
1:17you go to the UV editor here, you can
1:19see we got some islands and this matches
1:22exactly what you would expect if you
1:24created a cylinder. So, when we modeled
1:27this mug, you remember we started with a
1:29cylinder. And that's a primitive object
1:31and Blender automatically UV unwraps the
1:33primitive objects for us. So, everything
1:34that is still a cylinder form
1:37is okay, but everything else that we
1:39created from scratch like this handle
1:40here, it has no idea what to do with it.
1:42So, it's all stretched and all screwed
1:44up. So, basically we have to start from
1:45scratch and um and do this again. But
1:48that's okay, that's the point of this
1:49tutorial to learn how to do UV
1:51unwrapping.
1:52So, as I explained with the icing, the
1:54best way to think about uh UV unwrapping
1:57is to imagine that this object was made
2:00of paper and we have to lay it flat onto
2:03a 2D surface, which is what this is over
2:05here. This is the 3D uh object. This is
2:09the flat surface it's being laid on. So,
2:11it's like we are turning this into paper
2:13and we have to lay it flat. Where would
2:15you put the cuts on this object in order
2:18to make it flat there?
2:21And so, the most obvious place you could
2:22think of if you're looking at doing this
2:24is like I know for sure this handle has
2:26to be separated from the rest of it in
2:28order to start to lay it flat. By the
2:30way, uh before we start, it would
2:32probably help with your um
2:34uh mug selected, in the modifiers,
2:36you've got this little box there that
2:38says uh on cage. So, if it's turned off,
2:41it'll show you like the un subdivided
2:43result around it, but then like parts of
2:45it get hidden by the mesh. So, I usually
2:47turn it on just so that I can see it and
2:49like all the mesh is visible. Just makes
2:51UV unwrapping it uh a little bit easier.
2:53Okay, so the handle needs to be
2:54separated. So, right here is an incision
2:57point, right? So, I'm going to select
2:58these vertices here by holding down
3:00shift and just shift selecting. Then I'm
3:02going to hit control E and then select
3:05mark seam. Now, Blender won't have
3:08updated yet, so this hasn't changed over
3:09here. So, if in order to see that, we
3:11would first have to select the whole
3:13mesh, then go U and then select unwrap.
3:16Or the method that I prefer to do, and I
3:18would suggest you do this too, in your
3:193D view over here, there's a little
3:21options drop-down at the top there. If
3:23you click that and then select live
3:25unwrap. Now, whenever you do um a seam,
3:29so let's just do another seam here, mark
3:30seam on the same spot, um it will
3:33automatically do that UV unwrap for you.
3:34So, that's really helpful. Um now, it
3:37looks worse. You have to go backwards
3:38before you can go forwards, um but
3:40that's okay. So, we've only got one uh
3:42incision, so let's do another one, the
3:44other half of the handle. So, down here,
3:46I'm going to select these points
3:47like so and then hit control E and then
3:50mark seam. Okay. So, now it has changed.
3:53So, we've got the handle here. Now, if
3:56you want to select just the handle, by
3:57the way, in the 3D viewport, if you just
4:00mouse over that part of the motion of
4:02the the motion the mesh and then hit L,
4:06then in this little um
4:08uh last used box here, if you select
4:10seam, it'll now just select the parts of
4:13the mesh that match that seam. Um by the
4:15way, I should also be in edge select
4:17mode, that would definitely be helpful
4:19um because we're placing seams on edges.
4:21But yeah, if I do that now, uh that
4:22selection, you can clearly see that this
4:24is the part of the mesh, which is this
4:26handle over here. So, it's been
4:28separated, okay? So, we've got like two
4:30parts of the mesh. We've got all of them
4:32this part of the mug, which is this mess
4:34over here, and then we've got this
4:35handle here, which is this part over
4:37here. So, this is like somewhat uh
4:40unwrapped, but again, if this was made
4:42of paper, to lay it flat, we would have
4:44to do another incision. So, when I'm
4:46placing a incision like this, like I
4:48have to place an incision somewhere
4:50here, right? Like here, here, here, or
4:52here. And because a uh a seam generally
4:57makes a seam like a visible line in a
5:01texture that will often not be um like
5:03lined up, that that can look ugly,
5:05right? It's like it's not a good look
5:07for a model. So, often when you're
5:09placing a seam, you put it in a place
5:10that is hidden. So, I mean, it it would
5:13be a really good spot if we had like a
5:14line right down the middle of the mug
5:16there, but next best thing, I'll place
5:18it just to the side there. So, holding
5:20down alt, select that edge. Now, I'm
5:21going to hit control E and then say
5:23seam. And now, look at that. This now
5:27has been pretty well UV unwrapped, okay?
5:32That section there. That's pretty good.
5:34So, now we just have to do the same for
5:36the rest of the mug here. And this is
5:37pretty easy to do. So, it's I mean, you
5:39can tell like one place we would have to
5:41put a cut um would be like the base of
5:44it, like right here
5:46um inside of our mug. So, I'm going to
5:48hold down alt just on this face at the
5:50bottom there and I'm going to hit
5:51control E and I'm going to say seam just
5:53to separate that that single circle
5:55there out by itself. Now, I I need to
5:58put one cut that goes right down the um
6:01right down like here, like this part of
6:04a mesh. Like I need to do a cut right
6:05there. But again, that can create like a
6:08visible like line, so I want to try to
6:10hide it by putting it on like close to
6:12this handle here.
6:14Because also there are other seams here
6:16and it will just kind of help to just
6:17have it on one part of the mesh. Um
6:19because like you you could like move it
6:21and hide it by the camera and stuff like
6:22that. So, it just helps to put it all in
6:23one place. So, holding down alt here, so
6:26alt, click on that. So, it goes all the
6:29way down to there. And then it kind of
6:31stops here on the handle there. So, I'm
6:32going to select this line just holding
6:34down shift. And then I also want to do
6:35it right there. So,
6:37um holding down alt on that and now I'm
6:40going to hit control E and then say mark
6:42seam.
6:43Okay. So, now that's looking a lot more
6:45uh released, right? There's less uh
6:47tension in there, but there is still
6:49this like pinching effect happening at
6:50the bottom there. So, just like in the
6:52middle there, when we selected that and
6:53separated it, I want to select this part
6:56of the mesh, which is underneath the
6:57mug, and I want to unwrap that. Or
6:59sorry, I I place a seam there. By the
7:01way, if you want to like like cuz we
7:02can't really get to that very easily,
7:05if you want to just see an object by
7:07itself, you can hit forward slash. So,
7:09in object mode with the mug selected,
7:11forward slash. And now everything has
7:14vanished. Now, Blender doesn't do a very
7:16good job of showing you that you have
7:18you're just looking at an isolated view
7:20except for at the top there where it
7:22says local. So, there's many times when
7:24I'm using Blender and I think I'm like,
7:25"Where's the rest of my scene?" And then
7:28I remember, "Oh, that's right. I'm in
7:29isolated mode." And you only know
7:31because it says local there. So, you
7:33just have to remember if like you ever
7:34get to that point of like, "Where is
7:35everything? What?" Just forward slash
7:38and it'll bring it back, okay? So,
7:39forward slash, uh there we go. And by
7:41the way, if you don't have a uh forward
7:43slash key, you can go to view um and
7:46then go local view, toggle local view
7:48like that. All right. So, now that I've
7:49done that, I can get underneath my mug
7:51edit mode and I'll select this, say
7:53control E, and then I'm going to say
7:55mark seam. Okay. So, now when we look at
7:59this, you can see we've we've now we
8:01have pretty well successfully UV
8:03unwrapped this, okay? Cuz these points
8:05are now they're they they've been
8:07flattened out. Now, there's there's some
8:09stretching. There's always going to be
8:11some stretching, but as long it is not
8:13like obvious, it's generally okay. But
8:15now what I want to do um is I want to
8:17load in the actual texture that's that's
8:18being viewed here. So, I can see where
8:21this like line is being uh viewed on the
8:23um on the mug there. So, from the
8:25drop-down here, I'm going to select that
8:26base color, this little ceramic mug
8:28here, which by the way was actually
8:30scanned from a real mug um that we uh we
8:33we bought and then scanned around it.
8:34So, this actually matches like what
8:36you'd find in a store. Um so, it's
8:38loaded in there and now with this island
8:41uh which I can select by hitting L like
8:43that, I can now, hitting R, I can start
8:46to rotate and move it around like this.
8:49Okay. So, I'm going to place this. Let's
8:50go right I'm just kind of guessing, but
8:53that is yeah, that's the bottom of my
8:55mesh. So, if you don't know, like you
8:56can go into like face select mode and
8:58just like select a few faces and you can
9:00see them like update over there like
9:02that, which is cool.
9:03Um but yeah, so that's the bottom of the
9:05mug, which is good. And let's get that
9:07like, you know, try and get try and get
9:10a straight line there, okay? And you can
9:12see we can't.
9:15Right? We've got the line like going up
9:17here and then we've got another line
9:19coming down here. And obviously we want
9:21these to meet, but how can we do that,
9:24right? Because the lines are doing that
9:26because this part of the mesh is all the
9:28way uh over here and then the other part
9:30of the mesh is like yeah, much higher
9:32up, right? So, we essentially, in order
9:34to get this to to line up, we need to
9:37make this island here look straight.
9:39Basically like almost like what it was
9:41before when it was uh the default
9:43cylinder view. Now, there are some tools
9:45in Blender that let you like quickly
9:47align like one line, right? So, if I
9:50selected this line here, I could right
9:52click and then I could say align auto
9:54and you could see it would give me a
9:56pretty straight line for for that one
10:00there. The problem is is that it just
10:01does that one line. If I wanted to do
10:04all of it, I would have to do these like
10:06one by one like this. So, Blender really
10:09needs a tool
10:11that would like let this happen like
10:13easily across an entire island. And
10:15although Blender doesn't have this tool,
10:17there is a free extension and it's a
10:19great excuse to talk about extensions in
10:21Blender and how to install them.
10:23But yeah, there's a free one and it's
10:24amazing and so I'm going to show you how
10:26to get it. So, go to edit, then
10:28preferences, then go get extensions. And
10:32with a fresh install, it'll first ask
10:34you do want to let Blender read the
10:36internet cuz it's not going to do that
10:37without your permission. So, say allow
10:39online access. And by the way, you can
10:41change that in the future if you want
10:43inside of system, allow online access.
10:45Anyways, now that you're here in the top
10:48right-hand corner of the get extensions,
10:50there's a little unassuming drop down.
10:53Then click on visit extensions platform.
10:56find them by just going to
10:57extensions.blender.org.
10:59Anyways, so these are all extensions
11:02that
11:03they're not made by Blender. So, they're
11:05not like official, but they are all
11:07free. So, they all have to meet the
11:08criteria of free. I believe there's some
11:10other things in there like it has to I
11:12don't know, probably like safety checks
11:13and things like that. But these just
11:15like expand the capabilities of Blender
11:17by the community. So, the one that we're
11:18looking for is actually this one here,
11:20Moi 3D UV, which you could find by just
11:23I think typing in UV. Weirdly, when I
11:25was typing in Moi 3D,
11:28oh no, that's right. Oh, it's Mio. Oh,
11:30that's why I wasn't finding it. It's Mio
11:323D. Okay, there you go. I I thought
11:34Blender's search was so bad, but it was
11:36just a Mio 3D, not Moi. All right. Mio
11:393D UV. Okay. So, this is the extension.
11:43And you might think like I have to
11:44download something, unzip and do that.
11:46No, it's actually really simple. So, all
11:48you do is you grab your browser like
11:49this, just like separate it to make it
11:52like a half window like this.
11:55Then, all you're going to do is
11:58you're going to in the bottom corner of
12:00this little window here where it says
12:02get add-on, you're going to click that.
12:04And then you get this like little
12:05outline box there. And see how your
12:06cursor changes to this little like
12:08crosshair thing? You just click and drag
12:11out from that and then drop it into
12:13Blender. And it'll now say do you want
12:16to install it? And you say yes, I do.
12:19And then that's it.
12:21You can see at the bottom there it says
12:22installed Mio 3D UV. UV. And now in our
12:26UV editor over here in this window, if I
12:29hit N to bring up properties, you can
12:31see I've got a little option here that
12:33says Mio 3D. And look, we've got a bunch
12:36of options that I honestly have not
12:38played with most of them.
12:40Most of the ones I'm looking for are
12:41right at the top here. So, the one that
12:44I use all the time is gridify. Okay, and
12:46look what happens as I click this.
12:48Da da. It does what we're looking for.
12:51It converted that from this like
12:54stretched like kind of view to making it
12:58look actually squarish and and like a
13:01grid. And that is perfect. And now you
13:03can see that line there across the
13:06ceramic is lining up across it. So, that
13:08is absolutely perfect. I have no
13:11complaints. It is it's worked perfectly
13:14well. I do though just want to apply it
13:16to this part of the handle as well
13:18because the same thing would apply to
13:19that. Make sure I do it in face select
13:21mode, so I'll hit L. So, I'm just
13:23selecting the handle by itself. And then
13:26here with this Oh, you can also just do
13:27it on the island itself there like that.
13:29And then go to Mio again and I'm looking
13:32for gridify.
13:34Okay, and there we go.
13:36Great. Now,
13:38you you can position these however you
13:40want. So, you can select an island by
13:41hitting L and then you can like find a
13:43different portion of it. By the way, if
13:46you don't want to see the like cuz you
13:48can't really see the texture under it
13:49very well, sometimes I just disable the
13:52overlay at the top of the screen there.
13:53That will just like disable all the
13:55overlays so you can't see anything on
13:57the mesh there at all.
13:58So, you just have to remember that it's
13:59doing that. But when I've got that, now
14:02I can like move things around
14:04and I can see them visualized on the
14:06actual mesh there, which is helpful. So,
14:08if I wanted to be like a larger looking
14:10texture, I could make it smaller, right?
14:12That's a kind of a look. Or I could make
14:14it bigger and I'll probably make it like
14:15somewhere in between.
14:17About
14:18about there I think actually looks kind
14:20of good.
14:22Actually, yeah, basically filling the
14:23space like that from like left to right,
14:25which is nice. And then for the handle,
14:28I need to also resize that. So, I'm
14:30going to select this part of the handle.
14:32And by the way, you'll notice as you
14:33slide it off the screen there, it
14:35doesn't matter where it is because it's
14:36just going to be tiled. Okay? So, that
14:38texture is just tiling all the way to
14:40the left and to the right and and above
14:41it.
14:42So, yeah. So, I can position this
14:44wherever I want like so.
14:46Now, you can see here this little empty
14:48patch here, right? This is one part of
14:51the handle cut, right? It's that
14:53section. And then this section here
14:56would be this right here. So, if you
14:57actually wanted to line it up to be
14:59perfect and also get the texture, it's
15:02it's called like matching the texel
15:04density across the islands.
15:06But yeah, you could like scale this down
15:08to be
15:10like roughly the same portion, like the
15:12same part of the mesh if you want to.
15:14There's still like this extra stretching
15:16and stuff in there.
15:17The other thing I sometimes do is like I
15:19look at the size of a square like this
15:22and then I go like what is the size of
15:24the square over here? And it's like, all
15:26right, that's pretty close, but I can
15:27see it needs to be stretched like
15:29further this way, right? Cuz this is
15:31more rectangular than this. This is more
15:33kind of squarish. So, I'm going to
15:34select this whole island and I could hit
15:36S and then Y
15:39like so.
15:41So, till they're kind of kind of the
15:43same size like that. And then just to
15:45make them fit, I would scale that down
15:47again.
15:48And there you go. And now I'm just going
15:50to move that up a little bit just so
15:53that this part here
15:55of my my texture. I want it to kind of
15:56line up there. I don't even know
15:58actually if this is physically possible.
15:59Maybe somebody who works in pottery will
16:01tell me. But like see how it looks like
16:03it's kind of like dipped in something? I
16:05don't even know if that's like something
16:07that is like painted or like branded or
16:09something. Like can it go halfway up the
16:12handle as well?
16:14I'm assuming it did. Maybe I thought it
16:15was like dipped in something, but that
16:16could be like this could be a completely
16:18implausible mug is all I'm saying.
16:21But that that's how it is in 3D like you
16:24have artists that have like never done
16:27engineering before and they design a
16:28robot. And then like everyone's like,
16:30yeah, that looks cool. And then like all
16:31the people in engineering are like, you
16:33know, that's never going to fly, you
16:35know?
16:37But that's that's fine. It's part of the
16:39part of the fun of it.
16:40Okay, now there's there's a lot of
16:42stretching going on right here. And
16:44that's because this gridify thing as
16:45good as as good as it is, you could see
16:48that this part, right? It's really like
16:51shrunk it in there and it's made it a
16:52really thin line. So, all I'm going to
16:54do is I'm going to go into edge select
16:56mode by hitting two. I'm going to select
16:58that edge. Oh, okay, I can't select that
17:00edge very well. I'll just shift select
17:02them one by one like that. And then I'm
17:04just going to pull it up just to add
17:06more detail there like so. And I think
17:09it is also like
17:12stretched a little bit because it's kind
17:13of like wrapped around it and it's kind
17:16of like peeling outwards a little bit. I
17:18think it works a little bit better if
17:19you also scale that part out a little
17:22more. So, I'm just scaling out that
17:23line. And you can see that has now
17:25blended in pretty seamlessly. Like
17:28that's about I mean, it's a little messy
17:30there, but it's about as good as it
17:31would get on that. That's that's pretty
17:33good. And then I'll just do the same for
17:35the bottom part here. So, I'll select
17:37these edges.
17:39Actually, no, I'll do it over here. You
17:40can see you get both parts of it, right?
17:42Cuz that line there exists across two
17:45islands, right? This island and then
17:47this island here. So, anyways, I'll
17:49select this in the editor here.
17:52And then I'm going to pull it down to
17:54give me more data. And then I'm going to
17:56scale it out a little bit as well.
17:59And look at that. That's pretty good.
18:03We've got a pretty seamless looking
18:05result.
18:07I mean, and honestly, that's that's
18:08about as good as it gets. And by the
18:10way, I I should have said like it
18:11doesn't actually matter that the UV
18:13islands are overlapping here. But it
18:15does matter if you were to be painting
18:18onto this.
18:19And the reason that that that makes a
18:21difference is like you can imagine if
18:22you were doing a paintbrush and you had
18:24painted parts of the mesh here and like
18:26one part was for the handle and this
18:28part was for that. If you had islands
18:30that were overlapping each other, then
18:32you would have like different parts of
18:33the painting like appearing twice across
18:35it. So, there's kind of like two styles
18:38to UV unwrapping. This is the simplest
18:40one, which is just like if you've got an
18:41image that you've got off the internet
18:43or a texture or whatever that's just
18:44being tiled across it or even not tiled.
18:47Like it doesn't matter if things are
18:49overlapping because, you know, the
18:51texture is different enough your eyes
18:53not going to spot it. But if it's
18:54painted, yes, they do have to be
18:56separate parts. And another thing as
18:58well, if you're UV unwrapping for a game
19:00asset, it's even more complex because
19:03all the islands have to be separated,
19:05but there's also like margin because
19:07like in games you develop like multiple
19:09versions of a mesh at different
19:10resolutions, then there's different
19:12texture resolutions. So, you have to
19:14create like big margins. And it gets all
19:16like complicated. It it's like a
19:17completely separate thing. So, if you
19:19wanted to texture for games, you should
19:21probably look at like game texturing
19:23type tutorials if you really wanted to
19:25go into that. But anyways, the rest of
19:27it is fine. Like that part of it, all
19:29this like stretching in here if you
19:31wanted to fix that, you could. It
19:32doesn't matter cuz we're going to put
19:34some like coffee foam along the top
19:35there. The base of it doesn't matter cuz
19:38we're not going to see it.
19:40So, yeah.
19:42But that's that's also the the the thing
19:43to consider is like, you know, when
19:45people are like on Twitter and they're
19:46like, look at this model. Look how
19:47terrible it is. It's like, yeah, it
19:49might be for a purpose like this. It's
19:51designed to be viewed from above, and
19:53that's all it needs to do. Like, if
19:55you've like pulled it apart and it's
19:57like, "How terrible does it look?" It's
19:58like, "Yeah, the camera was never going
20:00to go in there or under there, so that's
20:02why it doesn't matter."
20:05Anyways, all right. So, the mug is
20:07pretty good. The only thing I'll do is
20:09I'm going to go to my material over
20:11here. Uh actually, oh, sorry. I'll go to
20:13my shading tab at the top there, so that
20:15I can access the nodes here, and I'll
20:17just make a few tweaks to it. Just like
20:19before
20:21when I mentioned these maps here, like,
20:23this is going to give you the physically
20:24accurate um
20:26data from the actual ceramic that we
20:28scanned, right? And it's like color
20:29calibrated and everything like that. Um
20:32but sometimes you want artistic control,
20:34and I want this to look shinier. This is
20:36a little dull for me. So, I'm going to
20:38disconnect my roughness here, and then
20:40I'm just going to play with this slider.
20:43Like so. So, I've still got the bumps,
20:44so like most of the detail that I want
20:46is still there, but like I don't need I
20:48don't need um I don't need to look as
20:50dull as it was, so that is pretty good.
20:52I also don't need the metallic shader,
20:54like that's just superfluous. Um there's
20:56another one here, ORM. Oh, sorry, not
20:58ORM.
21:00Uh ambient occlusion or AO. This is
21:02another one which is completely
21:03unnecessary. Um it's just for like
21:05crevices of information, but this is
21:07like flat ceramic, so there's no
21:09crevices. Um we have to provide it like
21:11standardized for all of our materials,
21:13so they're all uniform, but a lot of
21:15materials just don't need it. So, in a
21:16case like this, um I just don't want the
21:19AO, like this map here. So, I could just
21:22like disconnect that. Or actually, if
21:24you want to delete something like this
21:25and you want it to retain its
21:27connection, rather than just deleting
21:29it, cuz then you have to manually
21:30connect it, um if instead,
21:33if you hit control X, it will delete it
21:36and retain its connection. So, that's
21:37just a little tip there for you.
21:39Okay, great. So, now let's go back to my
21:43layout mode over here. Let's have a look
21:44at it without lighting, and that is
21:47pretty good.
21:48Now, the only thing I would change
21:50though, looking at this, is
21:52this concrete is mighty pale. It doesn't
21:55look very good. It doesn't look very
21:57luxury like a like a cafe, like a high
22:00highfalutin, "Ooh, look at me. I'm
22:02paying $9 for a coffee. Aren't I fancy?"
22:04Doesn't look like that, right? It looks
22:06like dusty, like a workman floor. So, we
22:09can adjust this by going to the shame
22:11touch. This is a great excuse to go a
22:13little a little into the nodes, right?
22:15So, this is the one that we actually
22:16manually set up, so it's you know, it's
22:18pretty clean. We just got a base color,
22:20and we've got a normal map, right? But
22:22between here and here, where it
22:24connects, we can adjust the color of
22:26this, and I'm going to show you how
22:29simple you can you can completely
22:31transform the look of a texture.
22:33So, if I hit
22:35uh shift A or just go to add at the top
22:36there, then go to color, and there's a
22:39bunch of different color options like
22:40brightness and contrast. I wouldn't use
22:42that. That's like a
22:43like what is brightness? What is
22:44contrast? There's a whole like color
22:46debate and things. Color ramp can be
22:48useful if you just want to like convert
22:49something to like your own set of
22:51colors. Uh hue saturation value, we use
22:53that. The one I'm looking for though is
22:55RGB curves. So, if I drop this in here,
22:58this will give me if you're familiar
23:00with RGB curves from like Photoshop or
23:02DaVinci or anything like that, this will
23:04let you do like an S-log uh kind of
23:06curve. So, essentially,
23:08this data at the bottom here, this is
23:10your uh your dark dark tones. Uh this
23:13would be your midtones. This would be
23:14your highlights, and this is like your
23:15clipped like highlights at the top
23:17there. But you can see if I make this
23:18look like a like a ramp like this, it
23:21starts to look more contrasted,
23:23right? And I pull it all the way down. I
23:25can like really transform this and make
23:27it look really contrasted. Look at how
23:29different that looks already, right?
23:31From just this one little thing, you
23:34wouldn't imagine you could convert it
23:35like this, but that's a simple thing,
23:37and it's already looking good. And then
23:38I want to bring out some of the whites
23:40as well, so I can just add at the top
23:42here just a little curve that goes the
23:43other way, so it kind of exaggerates
23:45some of those whites. Okay?
23:48Great. That's pretty good. But now, the
23:50other thing is is like because I've like
23:53crunched it and made it a little more
23:54contrasty, it's also brought out some of
23:56the colors, which are looking a little
23:58like yellowy green, which is a little
24:00unappealing. Kind of like this table
24:02would be like a little moldy, not great.
24:04So, instead, um to improve it, I can add
24:07another node. As I mentioned, I use this
24:10one a lot, hue saturation value. So, if
24:13I drop this in and I drop it in here,
24:16you could also put it before the the
24:18curves or after, it doesn't really
24:19matter. Um and then I would I just want
24:21to drop the saturation here, and watch
24:23this. Watch how completely transform
24:24this becomes.
24:26Woohoo! Look at that.
24:28Doesn't that look nice?
24:30I think it looks nice.
24:32It's like and you can turn off these
24:34nodes, by the way, like temporarily. If
24:35you want to mute something, it's M. M
24:38for mute.
24:39And you can select that and mute it. So,
24:40this is what we started with, and then
24:42just with two nodes, we converted this
24:44pale looking concrete
24:46into this,
24:47which is crazy.
24:50Pretty cool. Anyways, so that's that's
24:52nice. And then, you know, you can
24:54obviously play with the the roughness
24:55and stuff, and we'll get to that when we
24:56get to the
24:58the lighting a little bit more.
25:00Um but that is looking good. Oh, the
25:03other thing, of course, we need to add
25:05is our coffee foam. And this one is
25:08super easy, and it's another chance to
25:10talk about um another type of texture
25:12which you can find on sites like
25:13Polygon. Um but we need to add coffee
25:16foam to this. And um to do that, we need
25:19to start with an object that is going to
25:21obviously fill the top of this. And
25:23obviously, you know, we could go in here
25:24and we could like add in a circle and do
25:26that kind of thing, but it's also smart
25:29to think about like, "How can I save
25:30time by reusing part of my mesh that I
25:33already have?" So, I already know the
25:35exact size that the the foam to fit my
25:39mug, because I already have a mug here
25:41with a circle in it, right? Look at this
25:43line.
25:45That is a circle. If I could just take
25:48that and make it a new object, I can use
25:50it. So, to do that, I can select that
25:52line and then hit shift D, right? I've
25:55got my circle now. Then I want to hit
25:57escape, okay?
25:59So, it's now just brought it back to
26:00where it was, and now I'm going to hit
26:02P. P is how you separate something to a
26:05new object. So, you're separating part
26:07of the the mesh.
26:08So, now I'm going to hit selection
26:11like that. And now, if I go over to my
26:14uh outliner here, we should see two
26:15mugs. So, this is my original mug, and
26:17then this is my mug.001,
26:20okay? So, I'm going to call this my foam
26:23like that.
26:24And now,
26:26I'm going to go into edit mode.
26:28Uh let's put it in edit mode.
26:31All right, and I'll turn off the uh that
26:33little view there, so that I can just
26:35see
26:36Where is it? Hold on a second.
26:38Huh? All right. Okay. So, you have to go
26:40into uh wireframe mode in order to see
26:42it there, but yeah, that is my my
26:45circle. Um and actually, yeah, I should
26:47just be in my layout mode, shouldn't I?
26:48Not in shading. I should be in layout.
26:50So, I'm going to go here. Let's do the
26:51same thing. Wireframe mode. Okay.
26:54So, this circle obviously isn't being
26:56rendered because there's no face on it.
26:58So, if I go into here into wireframe, um
27:01I need to create a face on that, and I
27:02can do that by hitting F, okay? So, I've
27:05now got a face, and it's completely flat
27:07across it. And this is okay, and this
27:09would yeah, it would work for most
27:11things, but there is a small detail that
27:13you notice when you look at like like if
27:14you've got a if you've got a coffee on
27:16your desk right now, if you have a look
27:17at it, where the coffee like where the
27:20water meets the actual edge there,
27:23there's like surface tension, and it
27:25actually rises up against the edge
27:28there. And you might think that is like
27:29a negligible detail, but that line there
27:32always catches light. And when it's
27:35missing, the eye goes like, "That looks
27:37fake." So, it's a very small thing, but
27:39we can add that line in here very
27:41simply. So, in edit mode, going back in
27:44wireframe mode, so with our solid face
27:45here, I can create an inset. Okay, have
27:48we talked about insets? I'm trying to
27:49think.
27:51Yeah, we did a little ins Yeah, we've
27:52done some insets. Okay. But yeah, you
27:53hit I, okay? To do an inset. Um and
27:56that's just like creating a line like
27:59that goes all the way around that one
28:00single face there. And now, I can put it
28:02like Yeah, let's go right there.
28:05And then, right underneath it, I'm just
28:07going to Sorry, yeah, right here. I'm
28:09going to hit G and then Z to bring it
28:12down like so.
28:14And then now, let's have a look at it in
28:16solid view mode.
28:18And look at that. So, I've now got it,
28:20and it's pretty good. I might just do
28:22another inset cuz it's got this like
28:24crimped kind of effect there, so I'm
28:26going to hit I just so that it's not so
28:28noticeable on that portion.
28:31Okay, nice. And now, all the all I need
28:33to do is right click it and say shade
28:36smooth. So, now I've got a little raised
28:38edge to it.
28:40Excellent. By the way, quick little
28:42opportunity to talk about
28:44something like it's kind of hard to see
28:46that raised edge there. It is there, but
28:48it's just like the lighting doesn't
28:50really make it
28:52visible. So, sometimes when you're
28:53modeling, it can be helpful to change
28:55the way things are displayed here. So,
28:57there's a really powerful tool in the
28:58top right-hand corner.
29:00Um the default lighting is studio. If
29:02you go to matcap and then click this
29:04ball here, you've got all these options,
29:07which can show you different views. Um
29:10it's actually how I create some of my 3D
29:12my YouTube thumbnails, cuz some of these
29:14look really beautiful. But like you can
29:16see that's so much more useful um for
29:19seeing
29:21what that edge actually looks like there
29:22on that. Um and there's some like this
29:24which are designed to like show you
29:26where there is like artifacting on your
29:28mesh, cuz it'll reveal
29:30um problems with the mesh that you
29:32otherwise might not have seen.
29:34Um and these are new in Blender 5.0. Um
29:37they redid the matcaps, I should say. Um
29:39but anyways, it's cool. It's nice to
29:41have, but we don't really need it. Okay,
29:43so to give it a coffee foam texture, I'm
29:46going to hit N to bring up my properties
29:47over here, and then I'm going to
29:49download my coffee foam atlas texture.
29:51So, let's hit download, and then with it
29:53selected, I'm going to hit apply. If I
29:55go into render view mode, it should look
29:57like that.
29:59Let's go to the uh UV editor, okay, cuz
30:03I don't think it's been UV unwrapped.
30:06Nope, it has not been UV unwrapped. And
30:08then I'm going to go into top view mode
30:09by hitting seven, and then I'm just
30:11going to say U and then go unwrap angle
30:13based, like that. Now, I want to see
30:16this on my coffee atlas, cuz this is a
30:18special texture, and it's called an
30:20atlas texture. I'll show you what it
30:21looks like.
30:22Okay, so it looks like this. And this is
30:25a bunch of different coffee foams that
30:27you get to choose from. And so with in
30:29edit mode, with this UV uh selection
30:32here, I need to scale this down
30:34over the coffee foams,
30:37and then I just move them around
30:39to the one that I want. Like, what sort
30:41of coffee foam do you want
30:44on your mug?
30:46Right? Like some bubbles.
30:49Uh funny story with the coffee foam,
30:50like every uh the annoying thing about
30:53having like an asset company is every
30:55subject there is it's like trying to
30:58reinvent the wheel, cuz like how do you
30:59create a texture for coffee foam?
31:02Um because you could photograph it, but
31:04then how do you get the detail like the
31:05bubbles, right? Cuz like bubbles, you
31:07can't get the shape of those bubbles.
31:09Like So, we use like substance first.
31:11Like we hired somebody to make some very
31:14expensive
31:16substance materials. I can't remember
31:17what we paid, $2,000 or something like
31:19that. Um but then there are some things
31:21which are just like really hard to do
31:23procedurally with substance. Substance,
31:25if you don't know, it's like a
31:26completely uh separate texturing
31:28software. Um it's very complicated, all
31:31node based. Um but we got somebody like
31:33super skilled, and it's just really hard
31:36to get the detail of bubbles here. Um
31:39and then we had a guy on our team who
31:40was like on Saturday, he's like, "Look,
31:42I don't know if this going to work, but
31:43I just I took some photographs of some
31:46coffee, and then I took it into
31:48Substance Painter, and I manually placed
31:50the bubbles so that they all have the
31:52exact like shape of the detail,
31:55and it worked. And
31:57it was like
31:58sometimes the cheap and easy I mean, it
32:00was, you know, it still took him a day
32:02to do it, but like it actually it
32:04actually works. Um
32:06but yeah, it's kind of like we just have
32:07to guess what's actually going to work
32:09for it, um and just kind of wing it. But
32:11anyways, you can pick whichever one you
32:13want. I can't really even remember which
32:14one I used for the Oh, yeah, it was that
32:16one at the top. That was what I used in
32:17the animation. Um but I'll let you
32:19choose, cuz you've got nine choices to
32:22choose from. Some of them are frothy,
32:24espresso looking, but that was the one
32:26that I went with. Now, if you go to
32:28render it, you might find I'm not
32:30actually seeing it on this one. First
32:32time I brought it in, there was um
32:35uh in the shading tab, because it treats
32:38this as like alpha.
32:41Yeah, so it I I thought it treated that
32:43as like alpha. We don't really need that
32:44alpha. Like alpha will make something
32:46like transparent, but there's nothing
32:48transparent on this. So, if you see any
32:50like see-through stuff stuff or
32:52whatever, you might just have to
32:53disconnect that. I don't need metallic.
32:55I do need the roughness, the base, and
32:57the normal, so I'm going to keep those.
32:59And I also don't need my AO, so I'm
33:01going to uh control X on that, and there
33:05we go. So, that was the very basics of
33:08UV unwrapping. Uh if you want to go
33:10further and learn how to UV unwrap
33:12something a lot more detailed with hard
33:15flat surfaces, placing the cuts in the
33:17right spots to avoid stretching, um as
33:19well as how to UV unwrap something
33:21smooth and organic, um and then texture
33:25it using procedural textures, painted
33:26textures, that's all covered in my
33:28course called the Beginners Academy,
33:30which I designed for people who have
33:32finished this tutorial uh and want to go
33:35further. So, if you're interested in
33:36that, the link for that is beneath this
33:38video.
33:39Otherwise, let's continue on with
33:41finalizing our donut scene by clicking
33:44this video on screen.

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