hello this is Jonathan lamb Pell here with blender HD and welcome to the third part of my video tutorial series on how to make a scene realistic inside of blender so this picture shows where we left off last time we did the lighting and the detailing in the first two parts of the series and now we’re going to go over materials so I have the feeling that this is going to take a little bit longer maybe not as long as the last section but it will take a little bit so I’m just gonna go ahead and jump straight in so here we have our scene and we definitely need to add a material to everything and we need to add you know textures and all that stuff so I’m gonna be going through piece by piece and just kind of showing you at the different things that we can do with each object and what I like about the scene is each different piece presents different challenges that I can show you how to work through so let’s go ahead and get started up here there you have your layout options and I think I covered this in a quick tip this is like my first video and I have already setup a 1 for a layout for materials and this is really handy because I can use this window here as my preview window so I can be previewing this while I’m selecting or editing decks here and I have a timeline if I’m doing an animation I have my material options right here and also I had my note editing and so this is a really intuitive workflow just set up so that I can quickly access everything and it just works super well also by pressing the control right arrow I can get to my UV editing tools which is as you can see the next one the sequence it goes materials then editing and so I can just quickly jump between these two by pressing the control key and the areas so let’s go ahead and texture a couple things first so these textures I did grab off of CG textures except for a couple of them CG textures is just a extra website you do have to have a subscription but it is free and you get a certain in like Kota per week and it has a bunch of really really great textures a bunch of different categories and it’s super super helpful so I definitely recommend them for getting textures alright so as you’re going and choosing textures beforehand or whether you’re doing it on the fly you have to kind of think of what kind of scene you’re making for instance here we kind of have a rundown dirty kind of feel so I got kind of ground that is I’ll you know crack it looks grungy and it also has these cracks with dirt in it and I chose this for a specific reason and it’s because these cracks make it look like it’s possible that the grass can be sticking up out of it if this was just a flat concrete you know slab it would be kind of impossible to have those little grass shoots but since they have us all these cracks it looks a whole lot better and looks much more natural to have the grass sticking out and just kind of adds a lot more detail for the curb I’m going to be using this texture just kind of a regular cracked texture for the wall I’m going to be using this also kind of a grunge map and I like this down here because it kind of adds a little bit of a backdrop where it meets the floor with you know I can have some grunge build up and I chose a couple posters I think a couple of these I got off Google Images so I’m not 100% sure on the copyright on these which is always a bad idea but since this is just kind of a kind of going through they just seemed to fit be kind of grungy posters so it worked well also the sign I chose was also from CG textures and as you can tell us very grungy a lot of the signs there were very clean and actually the original sign that was on on the barrels here was you know flawlessly clean which would be impossible in real life so make sure that everything you do every texture you choose is you know based on what the scene is going to be about and it’ll make a whole lot more sense and it’ll just work out and they’ll complement each other and much better so let’s go ahead and do the wall texture first I think that’s a good simple place to start so one thing that I can do is I can when I select this wall I can press excuse me press numpad slash and what that does is put us into the local mode so such that as I now go in a preview I can preview it super fast I don’t have to worry about the other objects and I’m not distracted by anything else and I can work solely on that while in this window I see it within its context so that’s very very helpful so let’s go ahead and add a new material I’m gonna call this one wall pre creative I know

and when you’re making your materials especially in cycles you have to think of how objects interact with light so concrete wall isn’t very reflective it doesn’t refract light it’s not very you know velvety or whatever sometimes I would add a little bit of glossy too to my concrete I’ve done that in a few images but it’s just really subtle it helps it stand out a little bit by in this image since it’s just a flat wall let’s go with diffuse so I’m going to press shift a and add a texture and image texture and then I will just go ahead and open my texture that I have for the wall now it’s really difficult to choose which texture out of this kind of list you can’t really see what’s what but if you check this arrow especially if you’re badly named like these if you hit that icon there you can immediately pick out which one you want and open it up so now I can select the color socket and put it in there and you can see that this has already been previously UV mapped but we want to go ahead and tweak that because that’s not quite what we want so I can press control right arrow and bring me to my UV window remember that you probably don’t have that but I’ve set it up specifically for that and I have a video explaining how to do that if you want to see so I think this is already in local video yes it is and so from the side view I can press tab to go into edit mode select everything and actually I was testing this earlier so I’m just compress reset so you can see the whole process I can select the Wow okay you know what that’s awkward I jumped ahead of myself because I was I was testing that right before I started the video so there we go there that’s much better okay so let’s actually use the right object this time and the right texture alright so as you can see this is very very stretched it’s not quite the same as this obviously it doesn’t unwrap correctly and one of the reasons is that the scale isn’t applied so let’s go ahead and press ctrl-a and apply the scale and what that’ll do is it’ll just help us help it unwrap it a little bit better but even then it still kind of constrains it to this to this area and it doesn’t accurately represent the dimensions of this plane so I can just scale this on the Y either direction until it you know fits approximately I think that’s close enough and we also want to see this within the context because we want that little lip poking up just a bit and so I can either you know scale it however but I don’t want to stretch it too much so I can take this and just kind of grab it up and tell that little those little dirt spots are just barely peeking over the edge right there and I like that just like it is so if I press ctrl left arrow I can go back to this and you can see that now it’s correctly mapped but it looks very very flat and very very boring so we’re going to be adding some bump mapping and I found a good way to do this is to duplicate the texture first because what we want to use for a bump mapping is not the color data we want to use the non color data and I haven’t exactly figured out the specific differences between the two but I know that if you use non color data it just creates a better bump map so I can’t tell you exactly why that is but it’s tip and it is what it is so I’m going to go into vector and bump stick the color in the height because that’s what’s gonna determine how you know what spots are the hi pot pot sandwich spots a little low ones and stick the normal into this normal you can see that it doesn’t work if I put it in there in the displacement because you know these are both late labeled normal and have little blue dots so it’s just kind of a visual indicator that that’s where you need to stick it same thing with the color you can notice those are yellow and you stick it into the other color sockets so generally if there’s you know colored ones they always kind of go together so you can see immediately that it really helped make it a little bit more sharp I guess bring out some of the details you don’t want to make it too too much or else it’ll just kind of look start looking fake and not not too good so let’s leave that point one I think that worked very well so you know that was very very simple but I was a good place to start so let’s uh let’s go ahead and do the next object so I’m thinking now we should do the floor so I’m gonna select

that go into local view and you can see that we still have the grass and stuff showing up if your computer can’t really handle rendering that fast enough speed you can uncheck these and just kind of get rid of the particles but I’ll keep them for now because it might be handy when we’re texturing all right so now we have this and I’m going to make a new material and call this one the ground and just like the wall because it’s you know a very similar material I’m going to press a shift a sorry add in a texture image texture and asphalt damaged all right so I’m gonna plug that one right in and you can see this was apparently UV unwrapped beforehand by the author unplanned swap but that’s okay because we can go ahead and unwrap it ourselves so a good way to do this is just to press seven on your dumb pad and press five to go into orthographic view so it’s all flat and just pressed you and unwrap you can also press you and project from view when you’re in orthographic you like this and it’ll help give an accurate representation of the dimensions so that’s very nice and it’s also helpful if we have the right image selected okay so here we have it but I’m thinking since we have this kind of dirt build up along there and we also have some most of our plants back there it would make more sense that we have the dirt kind of towards the wall side of things so I’m just going to take the UVs here press R for rotate 180 degrees and that’s just going to put our dirt along the back wall which just really helps to make it more realistic because that’s where the grass is growing and you know just looks better so there we have our UV mapping very simple so far and since UV mapping is automatically applied to the image texture we don’t need to add a texture coordinate or anything so that’s that’s always nice and we can also go ahead and add our bump mapping now so I remember how we did that was vector and bump I duplicated this so I could use the non color data plug that in to the height and plug that into the normal and you can adjust the size but I found that point one works very very well almost all the time so I think that point one is perfect in in this case and one thing that we can do now is so that was kind of the bump for the small details excuse me for the little you have a little bumps on there but it doesn’t give us the the large crevices that would go there and I have already made a texture in that looks like this and this is going to serve two purposes and I’ll show you what those are but first of all I’m just I’m just going to jump into and show you how to make this so here we have our texture and conveniently the ground underneath is darker than the asphalt on top so since this is the case all we have to do is go into the color and threshold and it’s going to make a black and white image and these here control how you know bright or dark is it’s completely white and over what value it becomes dark so it’s completely black and white no gray tones or anything so I’m gonna move the black far enough away that we can have these solid you know stones and I move this far enough yeah I guess I don’t have to move that far nothing so that’s just gonna make it speckled and we don’t want that so I remove this so that we still have a little bit of white in here it might be a little bit speckled but mostly these are flat whites and this is very very dark blacks so that’s all that I did to get that texture so I’m gonna go ahead and load that in so using a texture and image texture open that up okay so I do not know if we can combine bump maps that’s I’m not sure if I can

do that but that’s okay because we can go ahead and plug this color in because we want it to apply to the whole material now we’re gonna be adding something in just a second as well but we can make that the one of the bump maps and to see it more clearly we can just take take those out so we see just the map and there is very little difference between the color and non color data but you can see it just makes a very simple not too detailed kind of map whereas even if it was bump mapping I don’t think it would make it that much difference so let me go ahead and try it just just to see it help if I put it into the right socket okay yeah you can see that the two outcomes are identical and neither of them look all that great let me go ahead and put these back but what it does is it just helps kind of pop out those stones from the background so that is it without that is it with and you know just it helps a little bit not a ton but it’s just a little extra things but also this is actually going to serve a secondary purpose not just that and what this is going to do is make it so we can have a little bit of water on the ground since I think this little spill here I don’t know what I think was a pile of trash in the original picture but I didn’t quite like that because there’s no way to texture a pile of trash and make it look good I’ve tried it many times and just it never ever ever works so I’m going to make this kind of a puddle and it makes sense to have kind of a rain or you know wet ground when there’s you know a lot of life growing growing up around it so just kind of make sense to have that sort of wet feel to it so then I can you know go ahead and add some water on the ground and to do that I’m going to add a shader and mixed shader and a glossy shader into then you’d say that I can take this color and just put it into the factor and it’s going to make only half of that only you know one part of that mask glossy and you can see that we need to switch these do want the underneath to be glossy but we don’t want it glossy all the way so what we can do hopefully this new tree won’t get too complicated or messy it’s not really complicated it’s just kind of messy I can go into the color and brightness contrast and just kind of lower the brightness so you can see if I put this at one it’s going to have horrible results apparently yeah so sometimes when you’re messing with brightness and contrast it really does screw with the whole image and I’m not sure why there’s not a clamp option because they’re really there really should be but a quick fix is just to use a mix with black and white and that’ll just clamp it automatically for you when you hit that clamp so looks like I did that backwards so we can just switch these two back and there we go and now when I lower the brightness it’s going to make it pretty much all all glossy and when I up the brightness that’s going to make none of it glossy so that means when I make lower this a little bit it’s going to make it a little bit glossy so that’s exactly what we want we don’t want it too glossy we just want it just a little bit and I think our roughness we want is about 0.05 fish so we can see the reflection of of some stuff but you know won’t be won’t be too crazy and it looks like we have a little bit too much bump going on here and since we don’t have a control like we do over in this bump we’re going to hear a

really easy thing to do is just add a color and hue saturation node and then we can just tweak the value and say set this to 0.25 and that’s really going to lower the amount of bump but still have it enough so it looks good so there we have it that’s starting to look a lot better it’s not perfect but we can come back and tweak it later if need be you can see that there’s a whole bunch of these kind of fireflies showing up and that happens a lot when you add glassy and glass and Aria what’s called refraction nodes and a way to fix all those you know bright spots coming up is going into the sampling nope the light paths and shading no caustics and it’ll clear those out so it won’t clear them out where they are legitimate like reflections but it won’t have any of the caustics showing up and excuse me there’s something in my throat again if you think they are too bright you can always use a clamp I almost always use a clamp of like four or something and just make sure that none of them are too bright because one time I had was kind of a side note but I had one pixel where I had a glare node and even though it was set to like a value of one for its for its value it glowed as bright as the Sun and it was the weirdest thing because it was one pixel so I don’t know use the clamp that’s that’s about it there all right so we can go ahead and move onto the next one if you know this is looking all right so we can hit slash to go to local view and just kind of view this with the wall and you will immediately notice something especially if I speed up the rendering by pressing shift B and dragging a box as this renders you’ll see that the floor is kind of a grayish color and this is kind of a tannish color and they do not match at all they don’t look similar and they just they don’t match they don’t look like they’ve been in the same area together it looks like I just took two completely different textures and put them together which is basically what I did but they don’t look like they go together so what I can do is first of all I just notice that I think this has a little bit too much bump so I’m just changed out to 0.075 there okay is I want to decide whether I want this to be kind of a little bit more beige color or I want it to be the more grayish you know what kind of feel I’m going for and I think for this looks like a post-apocalyptic scene or you know some ruins or something I think a nice gray wood would work very well so a really easy thing I can do to fix this is since this has a little bit too much of the beige inside of it I can go into the wall texture or wall color go to color RGB curves stick that in and then under the blue I can just move that up just a little bit to add more blues to compensate for the beige and immediately that’s looking a little bit more gray bump it up just a tad and there we go they now match so so far we’re off to a pretty good start since we decided that we want the ground to be a little bit wet let’s go ahead and make this a puddle so I’m gonna add a new material and just call this puddle and since we want to see the ground I’m not going to go into local view but I’m gonna press shift B and just concentrate my rendering there so it doesn’t waste any time and change this diffuse from that to glossy because we want our puddle to be reflective I don’t use the glass because I like to have a little bit more control over my materials so I mean you can use class if you want but you don’t necessarily need it in this case so I’m just going to use glossy and we do want it to be a little bit you know see-through so I’m going to add a mix node or mix shader’ and then add a transparent psdf and now we have it where it is half transparent and half glossy so that if you zoom in you can still see the stones underneath but it’s also reflective and it’s very

very subtle you can’t see the edge too well I mean you can a little bit but it’s not all that bad and it I think it really helps sell the image because you can see reflection maybe it’s a bit too much if you want to make it less reflective you can up this soap-like 0.75 or something I think that looks good and the roughness I want it to be a little bit more rough so I’m going to change that to 0.05 and what that does is just kind of blur blur the reflection a little bit and maybe that’s a bit much point Oh – there we go that looks good and now we have our nice puddle this is very very simple but we do have to pay close attention to what we’re doing and just kind of tweak it until it looks good and you know speaking of tweaks I think it could use a little bit more reflectivity so I know I just lowered it but I’m gonna go back to point and let’s try six because I want the the grass reflection to show up a little bit more maybe the original point five was perfect yeah let’s go with that I think that looks good and if you didn’t turn off caustics earlier now is where they’re going to really show up if I unchecked this now you’ll see that you have a whole lot some of those white dots kind of everywhere up there up there and it’s just gets really messy so I definitely recommend turning that on so with the puddle things like this is just meant to complement the image it’s not meant to you know stand out so just make it blend in with the environment make the transitions subtle same with the plants that I’m going to be working on you don’t want it each piece to like stand out you just want it to be you know just part of the environment you want it to add to it and not you know dominate the scene or anything make it too obvious so as a general rule when you’re doing things that are you know like this and more realistic try to go for subtle effects even if it’s the focus of the scene don’t add too much bump that sort of thing is just subtle is subtle is key subtle details are very very good and really add up to make the image overall look great so we can choose what we want to do next how about this baseboard right there so that looks good and I am kind of lazy so what I’m going to do is I’m just going to take these two faces the only ones we see and just press you and unwrap because we don’t see any of the other one so it doesn’t even matter really so not that I don’t think I’ve opened it yet okay I think we’re using that one and it won’t show up until we add it in our materials so I’m going to add a new material for this I call it base board even though it’s not even made out of a board I don’t really know what to call it maybe I could call it curb that sounds good and I’ll add that image texture I think it was that one plug that in and now it should show up in the textures so I can scale this up a little bit so the edges are you know just visible just outside and we don’t want this texture to be you know dominating at everything it’s just kind of a subtle nice little cracks it doesn’t have to be super detailed but it’s just helping sell the image overall so you can experiment on where you want the little cracks to be maybe something like that looks good and maybe it looks a little bit stretched too much so maybe I do want it to go like that it’s kind of play with it that looks good now if I go ahead and render that you can see that does look good but we do want to add some bump just for just for details sake c-vector bump and since this isn’t like a super important thing we can just use the color for that it’s not going to make a huge difference because it’s just a really subtle background object and even even that looks a little bit too much so I’m gonna set that 0.05 and that should be good

next you can see that it doesn’t match the wall on the floor that we have so I’m going to do the same thing as I did with the wall where I changed the color via the RGB curves with the blue just kind of get rid of those yellow hues just kind of make it more greyish so there we go a little bit less alright so so far our scene is looking pretty good I think we’ve made some some decent progress so let’s just keep going I think next we should focus on some of these these details down here so I’m going to now do the grass so I think the grass is on this thing so it’s nice to have separate layers open at the same time that’s really really handy so I can be rendering this layer and working on this one and it all just kind of works out so I’m gonna select that so it renders faster add a new material there and I’m gonna call this grass not wrasse grass there we go and I just kind of have a default set up I use for grass and things like like that like leaves and all that I explained it in my tutorial on Blender cookie of how to make a realistic park scene or grass scene something like that so go ahead and look that up if you want for more in depth on how to make nice grass but here I’ll just go over the basics I’m going to be using the diffuse oh come on shader mix shader’ I’m gonna be mixing this with some glossy then I’m gonna be mixing that with a little bit of translucent so we don’t want too much too much glossy maybe just point one I’ll set that to zero so we can actually look at this for now we don’t want it too reflective but a little a little bit reflective is always good so I think that looks perfect the diffuse we can make this a nice green mmm excuse me and the glossy we’re gonna leave white you can make it a little bit yellow if you want either way make this kind of a darker darker grass all right that looks okay and then we can just add a little bit of translucency and that’s pretty much all I’m going to do there so it’s not you know I didn’t go super in-depth but you can see that you know it looks it looks like grass we have the different you know aspects of it we have the diffuse color I wouldn’t make it too saturated that always looks funny now we had the diffuse which is the main color behind it the colossi which is the kind of reflective sheen that you see a lot of the times on grass one if we can see preview it up there not that well I don’t have the translucency which is kind of a sun shining through the backside of it and you know it just kind of works out well so that is our grass I’m just want to see what happens if I bump that up even more okay I’ll leave it like that I think that looks pretty good and now we’ll go ahead and mess with the sticks so these are really small objects you don’t really see these in any sort of detail so all I’m going to do is I’m going to make this diffuse a kind of a brownish dark brownish color but I do want some detail in there so I’m going to take a texture and I’m gonna go ahead and use a wave texture and then color mix RGB the first one is gonna be that brown color and then that’s also going to be that brown color but a little bit darker so I can mix that in as the factor and now we have a little bit of detail it doesn’t look all that great but you know just

that amount of difference when seen from farther away is going to is going to make the difference in your image because one just looks flat it looks silly but having just that little bit of that little bit of texture in there helps it you know just helps it look a little bit better so let’s go ahead and do the pine needles and actually I’m going to delete that material and I’m going to use the grass material hit that too and just call this needles but instead of using this exact same thing I’m gonna make it a little bit less translucent and I’m gonna make this color a lot darker so where’s a spot where there’s a lot of them maybe like right there so you can see that it’s not you know super obvious where they are but they do help just add a little bit more detail you know you could go ahead and add a lot more things like you know some trash or whatever and that would help even more but it’s it’s the little things the devil is in the details is definitely a true saying all right so I’m gonna call this one rocks or rock all right now it’s just diffuse but we can go ahead and do the same thing as we did with the sticks which is just at a mix RGB and our colors I think we’re gonna use a kind of a grey and a slightly more Brown grey so nothing crazy but then when we go and add a texture let’s use a noise texture let’s take the factor in there and since these are gonna be really small we’re gonna want to bump the scale up to or I don’t know we just we want the texture to actually show up on the rocks so I’m gonna render just that okay this is way too much detail so you can see yeah this close that bombing definitely looks bad okay so we have that you can barely see it but we can go and change the color brightness contrast and up the contrast just a little bit that looked good and now when we zoom out we can tell that it’s not quite a flat color but it’s you know just has a little bit of texture that helps so now that looks good and with the other rock I’m going to go ahead and copy that one hit it too and just kind of slightly change these colors maybe I want it more reddish I don’t know we could definitely go into a lot more detail with these but since they’re very very small and make up a very little portion of the image I’m not going to spend too much time worrying about something when we have more important details to cover and we don’t have that much time so I say we’ve covered all of this okay so let’s do the ivy next I guess / to go out of local view that’s way to change the scene for me when I hit slash it’s kind of funny alright one of the last few things is the ivy actually this is going to be really quick when I do this all this is going to be is a diffuse Darkrai shader me shader and I’m gonna add a glossy just to give it a little bit of a highlight and make it mostly diffuse so point two so it has a little bit of a highlight but it’s mostly black and that’s all I’m gonna do for that okay so now for the Ivy because everything else is looking fairly good hope not that there we go I’m going to see that’s weird it didn’t change it when I was local mode but now it does I’m gonna take this leaf and I’m gonna use the grass material make it a single

user and call it leaf hmm okay and I can see it looks a lot like the grass but there’s a few important differences that we’re going to make I’m gonna make the leaves a little bit darker just so they blend in a little bit more with the background and it’s also going to contrast the red of the barrels quite nicely the glossy is already set like pretty much how I want it but I’m going to make it a little bit more translucent and I’m gonna change the translucent to be a little bit more yellow so that’ll just help the overall tint and help those leaves to kind of blend together well so I think that looks good and I think that automatically applied it to these over there so let’s see how those are doing they look alright not I don’t know see these over here look pretty good but those don’t look quite so good maybe it’s a little bit too dark a lot of this is just tweaking work to be honest I don’t like this IV on this wall at all I think it has to do with the way the particles are facing it just doesn’t look this doesn’t look very real it’s probably my fault actually it is definitely my fault cause when he did it but it’s also kind of sticking away from the wall which is bothering me so you can see that a lot of these are just kind of sticking out of there so I’m gonna grab that ever so slightly I don’t know if that helped too much but oh well okay now I’m gonna go ahead and select that again move back to the first layer so I can work on the material add a little bit more glossy okay so that definitely isn’t perfect we could work on that some more I one thing I would avoid is using PNG textures instead of actual geometry because in cycles it renders way way way slower so I would recommend using actual materials like this instead of adding a image texture so next you obviously need to change these branches so IV branches and these since we’re hardly going to see them I’m just gonna make them a solid Brown and that’s gonna be good enough over here I’m gonna do the same thing having branches okay so we are almost done the posters I’m going to not do in this video tutorial because you do it literally exactly like I did the the wall and the and the floor so I’m gonna leave you to do that because I am confident that you can do something like that these I think are they what material are they let’s go and give them the Ivy material wait then what material is this leaf oh there we go okay so lastly we’re going to do the barrels and we’re going to texture them first so let’s give them a material and just gonna call them bare roll and an image texture so we can see it when we move to the next window out layout texture image texture open it up I chose this texture specifically because it is nice and long and can wrap around the barrel and it’s nice and grungy so exactly what we’re looking for and in this view I’m going to go into edit mode and you can see these UVs are all messed up and I can press actually what I’m going to do is I’m going to go into side of U and a really quick way to do this is since this is a cylindrical object I can just press u and cylinder projection and that

works perfectly except for one small place which I’ll show you in a sec middle painted there we go so I can select everything move it down there and scale it on the X so it looks a little bit better wrapped around there to minimize the stretching so you can see that looks good except for just on the top here which it looks a little bit stretched and what we can do to fix that it’s just to select these two things there those two there we go those two edge loops and take this line I’m selecting the rover i pressing alt and then clicking and then grab that on the why bring the down and that’s gonna fix your stretching yes there we go this I’m going to also add that material barrel and I guess we also have to uv-map it looks like it’s already done for us so that is very cool except for this is not UV mapped at all which we don’t even see that but just for sake of doing it I’m going to unwrap that and it’s not a perfect fit but because we don’t see it it’ll do fine okay so now we have the color applied and I’m going to go into local view again so we can see it a lot faster okay so started looking good we got to add some but mapping on those scratches so I’m gonna do the same thing as you did at the ground color non color data stick that in there and you can see that it’s going through your wrong way so I can negative 0.01 or o-5 so I don’t want too much and that’s just gonna help put those scratches there and it’ll help even more when I I use the shader mixed shader and mix it with some glossy and obviously we don’t want too much and does that seem just from the light or is that from the textures okay that’s just from the light okay that just looks really funny but that’s alright because in the scene it looks much better okay and the glossy we want it to be a little bit more shiny so let’s go with 0.01 and just kind of make it so we have mostly diffuse with just a little bit of that of that shininess in there and maybe even up the strength of this negative point one so we can see the reflectiveness with the shiny okay that looks good lastly I’m going to add the little decal and the way I’m going to do that is oh hold on do play at that image texture open up a new one and choose our decal make sure that’s the diffuse and we want to mix it with that based on the Alpha and you see that’s definitely not mapped how we want so I don’t want to repeat any I don’t know how I can get it to not do that but let’s go ahead and unwrap it so select everything with our acid sign there we just scale this up let’s select everything it’s time but we don’t want to how we don’t want to mess up that so actually sorry what I’m gonna go ahead and do is input texture coordinate if I wasn’t generated nope UV works best then I can change the mapping over here so you can see it’s stretched

a little bit along the x-axis so I can stretch it back like that that’s gonna help hmm what geez what did i do before oh okay this is what it was this is contra key okay so I’m gonna add a new UV map I’m gonna call this tikal there we go that’s better so now let’s see I want to make sure that one is selected so when I go ahead and unwrap this it’s going to be under the decal settings I want that positioned right there but I don’t want it to repeat so I think there’s an edit or an option here to not make it overlap but let me see here real quick ah shoot I know there’s something here so let me just pause the recording and I’ll come back in just a sec alright so I took a little bit of a break there but now I’m back and I figured it out what you have to do is use a like I was thinking another uv-map hit pass it through a mapping node and by these minimum and maximum it then constrains it to just that one so that is how you do it and that should be all for that it looks a little bit stretched in my opinion so I can scale that on the X and notice how that does not affect the UV map for this one so and we put in the decal map by adding in an actual attribute node which is just the input and then attribute and then we type the name of that UV map plug the vector into there and then keep going so that’s how it’s done and it works pretty well so there you have it I think that is everything is now fully textured and material that’s even a word except for the posters which I am very confident you can do by yourself so that is it for this tutorial I didn’t go to in depth but there was quite a lot to cover and I’m sure you can understand so one or just a couple things I want you to be aware of is as you’re choosing textures and stuff keep in mind the context at all times make sure that they match each other so they look good and complement each other and just make sure that the details are subtle you don’t want too much you know bump mapping out a little it’s gonna look bad or you don’t want too little just keep in mind the subtle things really help make the picture and that’s these posters that are sticking through the wall are looking very bad but anyway I’ll go ahead and fix that before I do the final rendering for the preview of the video but at this point I’m going to say thank you for watching I hope you learned something the next time I’m going to go through compositing rendering and then just finishing up giving up the few key points and summing up what we learned so that’s all for this tutorial I’ll see you next time and thanks for watching

You Want To Have Your Favorite Car?

We have a big list of modern & classic cars in both used and new categories.