Welcome to using an image as a texture in this video.
We're going to show you how to add a texture to your material.
We're going to reinforce the diffuse and specular settings.
We're going to model the boards around and then finally apply a texture to that boards around making
it look much better.
So let's hop straight on over into blender.
So here we are in blender and with our default cube.
So let's zoom into our cube a little higher the time line getting us feeling I should just set this
is my standard lay helps.
By now let's apply a material course that is going to be one already applied.
I'm going to call it brick work.
And the next section along not on the properties pane there's little chequered square here.
That's the texture properties so you can click on that there.
And we've got a list down here now.
I'm going to name this.
Bricks.
And then further down.
Let's just have a look here.
Type well it needs to be an image in this case as those of other options which procedurally generated
textures.
But we're going to use in this case an image or movie so we select that and go into your assets pack
and you will find a texture and can't remember.
It's called a thing it's called bricks Yes it's called bricks dot j pge.
So open that up and it will give us an example of fully of the texture itself.
Now is it applied to here.
Well we don't know at the moment what the viewport shading is sets a solid says.
Change it now to rendered and we'll see how it goes.
Okay.
So it has applied it but it does look a bit odd there as you can see it looks a bit funny down the sides
there.
So first of all so we can see our entire object.
I'm going to change our lamp to a Hemi just so that the whole thing's highlighted.
And then I'm just going to go round our cube.
Okay so this is a good example here.
There's not a chance in the world that a wall is going to look that shiny glossy unless someone's going
around varnishing walls.
So in our materials properties for the cube if we go down and turn specular either all the way down
or off.
Yep I'm happy with that now and I'm just going to turn the diffuse up in this case.
Okay so let's hop back over into the texture.
Scroll down a little.
So what we're looking for here is the mapping.
So at the moment the coordinates for this texture are being generated by blender for us which is great.
And their projection is flat which is why we've got these lovely stripes down the side of our blockwork.
We may want that.
But in this case I certainly do not.
So we changed the projection of that from flat to cube.
You see that.
There we go.
We've now got our texture applied to all of the sides.
Now as your model gets more more complicated and we will get to use the mapping and unwrapping later
on but you will need to do that.
But since our models are quite simple at the moment with basic textures this brick work here for instance
is working really well.
The other one you can choose here is object so we're mapping it to the object itself and that does look
a bit bizarre at the moment.
And why is that.
Oh that looks very bizarre.
Kind of tracking our view at the moment because we've not selected an object for it to be mapped to.
And if we select the cube as the mapping There we go.
It's mapped in a very similar manner as it was before.
There are quite a few other options in the coordinates.
We won't be using any of these at the moment.
Okay.
So finally the size and offset will offset as you could probably guess shifts the texture from left
to right up and down et cetera.
And the size will this acts in the reverse manner as I was expecting it to.
So if I half the values of X of Y the texture actually gets larger as we can see there.
And if I double the value of x and y the texture gets half the size.
So it's very easy to get confused which way round those things are.
I certainly did.
I'm just to one for the moment and you may need to alter this depending on the scale of the model that
you're working on.
In this case that looks absolutely fine.
And I am happy with that.
So I would just say that Brick Q For the moment just in case her need is again in future.
And I'm going to go and open up my chest scene.
So let's go a model.
The surround.
To the board itself.
So the first thing I'm going to do is add a plain object.
Okay.
That's added in a funny location.
I've got a couple of options here.
I can go to the transformer up here and relocate it.
0 0 0 I could go over here to the ad plane.
OK.
In the.
Operator panel.
And change that to 0 0 0.
In this case I'm going to choose to just undo the creation of that and use shift and see to both Centre
the view and put the 3D cursor bang in the middle of our scene.
Then I can create our mesh plane.
I think this is 24 radius.
I'm not sure let's just give it a quick go.
Twenty four.
Excellent.
Right we're going to use a little bit of a hack here to get this done.
We're going to extrude.
We're going to go into edit mode first before we extrude.
Now we're going to grab the edge loop running around the outside of this plane and we're going to extrude
by Absolutely nothing.
Now it probably hasn't escaped you that we've got this funny pattern on top of our chequerboard.
This is what happens when blender does not know which of those faces is on top of one another and it
can't know because they are exactly on top of one another.
So in a few moments we're going to have to delete one of those in order for it to work properly.
Now sometimes it can be a bit iffy trying to select an individual face when one's on top of the other.
And if you get the wrong one you can just undo right click again and it will select and cycle through
the faces that are on top of one another.
Now what we've got here is the edge loop around there selected and it's time to scale.
I must say at this point if you do have the automatically merged vertices turned on on the 3d edita
header that will not work.
The process we've just done because it would just merge the four vertices at the corners back into four
rather than having the eight.
So if that is on your turn it off and then we can scale that outwards.
And I'm going to do this by I.
One of those two is upset you find one point to one point three.
Brilliant.
So I'm going to go in to face select and remove this centre face completely.
And remember when you're deleting.
In this case we are deleting faces and this middle one now I can extrude in these z axis by minus one.
Now there's a chance you've inadvertently selected the chequerboard when we were doing that.
In fact at this point I have not touched the chequerboard itself.
It can be very confusing and somewhat frustrating we do have faces on top of one another.
Fear not you will come across this quite a bit when you're doing your modelling but do play with it.
Don't get too frustrated by it just accept that when you have two faces on top of one another it can
be somewhat cumbersome sometimes to select the one you want to remember just right click again.
If you've got the wrong one the first time round.
Or indeed if you've got multiple faces more than two on top of one another then you will have the right
click several times to cycle through the selection.
That doesn't appear to be hazed itself.
That's okay because the operator panel still has our transform in it that we've just done.
Apparently I moved in the x-axis sung the set back to zero and that's a minus 1 and that should X then
we don't have the hashing on the top of the board and we should find its class and depth.
Brilliant.
Okay so finally here I'm going to grab the edge loop running around our board.
I'm going to extrude in the z axis.
Yep by minus two.
Essence's got some thickness.
Probably going to undo that and extrude in the z axis by minus the reeds.
Give it a bit more depth.
Then finally fill in that face.
Excellent so because we've been going in the negative direction quite a bit I can see straight away
that a lot of the faces we've generated have got the Normal's round the wrong way.
So whilst we are still in edit mode let's select our entire model and just flip the Normal's round the
right way with control and N and whilst we're here let's just make sure we have not got any duplicate
vertices by removing doubles.
We haven't in this case it's removed zero excellent work so we've got our board ready to do there and
what we can do.
Finally I'm just going to bevell this edge so I will select the edge to go around hold down control
and b and add in a bevel.
We have three or so edges and let's just have a look at the operator panel and see what the other options
we have armed with a set that's a whole number segments yet that's fine.
Virtex ONLY all that's interesting but not what I want.
Let's work our way around here.
Have a look at the profile.
Yes it's a nice profile.
Bear in mind you can go a bit wacky on yours pop.
Feet on it or whatever you want in that way.
Clamp overlap.
That's a bit better there that centralizes it's a little so.
See so that prevents it coming too close to the edge.
Brilliant.
That's exactly what I want in this case.
Well that's that's an interesting going light and fat rather than the other way.
I think I'm going to keep that X so then right.
So let's just apply that's sorted and now I think it's time for a challenge.
Okay guys it's Challenge time.
I'd like you to add a wooden texture.
So using the Brazilian rosewood texture in your asset pack.
Apply that to the board surround pause a video now and give that a go.
Okay guys.
Welcome back.
Let's go and apply the Brazilian rosewood texture to our board around.
Okay so we're back in blender now.
Let's go ahead and add a texture to our board around.
So first of all I'm going to go to where it says plain and change the name.
This to board surround.
In fact I'm going to put the word chefs in front of it.
And that's purely so it lines up with the one that's just just bought.
So the chessboards around I'm going to add a material to it and I'm going to call it chessboards surround.
Be a good name for it I'm just going to copy and paste in that name.
Then I'm going to go straight over to the texture's.
Create a new texture.
Scroll down a little more often than admit this window bigger now.
Open up.
S. assets Brazilian rosewood.
Well that looks good.
I'm going to turn on rendered straightaway and see what it looks like.
Why aren't you see anything.
We've got the lighting hidden some are going to hold down control and term both the lights on at once.
Excellent.
So we've got a couple of options here that looks like a proper machine bits because you would probably
think the terms metered to get that 45 degree angle in there with the wood.
Let's see if there's any other options that would suit us a bit of experimentation.
As always.
Never goes amiss.
So the map at the moment is mapped to UV coordinates and we can see there it's following the face that
has been generated from there.
So if we go to generated itself I'm not too sure on that.
The texture it looks very big was in awe of the borders for it makes the border very small.
The text is there so we went in here and did X Y and I would do head as well.
Yeah that looks okay as well that Scott's grain it does look a bit odd though it does look uniform.
But I do prefer the U V option that was coming up before.
Let's just try object and set it to chessboards surround.
Wow that's searson too small there.
So that's change that's two point five I think.
Now it's going to have to be more than that.
So I'm going to leave that as it's previous selection at you V because that looks really nice now.
The spec clarity of this is that's about right.
Well we've got to make a decision here.
I don't think wood would be that polished.
So I do want some specular arity but I don't want that much sun just kind of turn that down and still
I'm happy with it.
I'm going to halve it.
First of all probably a little lower than that.
Yes I'm happy with it having some glare on it some reflection of the lights in the environment but not
so much that it's too glaring.
Right.
Brilliant.
How did you guys get on.
Please share your results in the discussions and I will see you in the next lecture.