Welcome to you v unwrapping and texture mapping.
In this video you will understand an image texture replaces the colour of a material.
You'll learn how to unwrap part of a mesh and apply the texture to it.
So let's get straight on over in a blender.
Right so over in blender The first thing I'm going to do is just bring up the node editor here.
Right.
So on the left hand side of this no.
Ed we're going to introduce a texture some of them a go at.
And good texture.
And we want an image texture.
You could also go shift day and search for Image texture.
Of course go to texture and image texture.
I'm just gonna pop that there and I'm going to link straightaway the colour to colour and the colour
down here as well.
So that means that the image texture is going to control the colour of these two shaders.
Now it would be nice to see if what's actually going on over here on the material to have you can see
it's on this bright magenta this bright pink.
And generally we know texture is assigned.
That's the colour it goes.
So let's bring this back down a little here so we can still see the note.
And we'll switch to the 3-d view and change it to rended modes.
I can just see what's going on.
Okay.
Brilliant.
So we've got ourselves a pink eye.
Now you may want that type of I but I actually want to apply my image to it so I'm going to go to open.
I'm going to find the iris I made earlier.
Well in fact we made earlier and opened up your one eye open in my chair and it goes black.
So of course the first question is well why isn't it applied.
It's not going to work yet because we haven't map it.
So let's go ahead and do that now.
So I'm going to pull down this area over on the left.
I'm happy with the outliner itself.
So I'm going to go down here and switch this to the image editor you ve an image editor.
Then.
And in here I'm also going to open up.
Our Iris So that's loaded up there.
Now the final thing to do is select what we want to be mapped to this image whilst it's open.
So over in the 3-d editor window I'm going to switch back to solid mode.
No changed my mind.
Probably material no texture.
Yes we can actually see it here.
Okay so I need these three rings here selected so I'm going to get back to solid mode and using in face
select I'm going to use oltz to and shift because I want extra rings selected.
There we go.
So these face loops have been selected.
Now I need to go and press the UKI or you can go to mesh on a 3D Ed header bar and go to UVA unwrap
and you'll get the same menu for you V mapping.
And we want to unwrap them click unwrap and we can see over on the image editor on their right hand
side here.
We've got that mesh the area that we've selected appears on top of our image here.
Brilliant.
So we hop over into rendered mode.
We can see that we've got ourselves in Iris.
And if we go over to this image editor we can scale this in and we can scale it out.
All of we keep scaling it out we get a very funky.
Am I going on I don't want that so let's bring it back in almost there.
As you can see you can play with this to your heart's content.
I actually quite like it's low down here because it's got that extra ring going around it so there's
lots of options you can do to play with that.
And we've got Tom selves a pretty good looking guy as always.
Let's go and render the final image as well and see how that's looking.
There's a few extra steps to the high.
It's not glossy enough at the moment.
So in a challenge in a few moments there we go.
That's an awesome looking.
I'm much better than that plain orange.
So let's go ahead and add one final challenge to make this a nice and complete.
Okay so your challenge add a lens to the eye.
So we're going to create a lens and I suggest a duplicating the iris and the pupil part of the mesh
and separating it immediately into a separate object.
Assign a glass shade to this new object and sets the wire to around one point four but do feel free
to experiment with this.
I've found one point for works rather well.
Recess the iris and pupil ever so slightly.
Otherwise the two meshes will be touching one another and it will look horrible.
And another thing you could do is pull out the lens further from the eye.
I suggest using proportional editing for this and try to remember not to pull the actual lens fully
from the eye.
Otherwise it'll look more like a contact lens rather than part of the self.
Now finally set up a new cam camera zoomed into the rabbit's eye and share that render in the discussions
pause a video an arm and give that a go.
Okay guys.
Welcome back.
Let's add a lens to our rabbit's eye.
Right so the eye is coming along lovely here so let's add a lens to it so we need to go back over to
the 3D view.
An unknown to struggle for a bit space here.
Let's set this the solid mode.
So I will want this front bit here selected as well so I'm going to use circle select in order to do
that.
So that's the iris part.
And the people parts select and we can just confirm that it be rendered or material or textual mode
that's all there we can see what's going on.
So back home it's a solid mode now I've done that.
I'm going to duplicate that straightaway and then separate it as a new object so it can see a shift
and we will duplicate it and I'm going to hit P immediately to separate it by selection.
Excellent.
So now if we are we don't have an outliner anymore.
Let's bring back our outliner.
Okay so now under the rabbit mash we've got eyes and eyes 001 and I'm going to call this lens so we
can carry on with it.
Now the lens itself we can assign a material to it straight away.
So let's go and remove eyeball iris and pupil from this particular lens.
A new material.
And I'm going to call it lens.
And down here I'm on a set it's to a glossy know you want glass shade up just underneath.
So already I know are of one point forty five am good at a lower that down to one point four and I'm
going to leave for roughness zero.
Otherwise it would look bad and this colour I'm going to make sure it is pure white.
Which is not quite.
But now it is excellent.
So now we've done that so let's just render Well let's go in to.
Viewport shading rendered.
Okay.
That's not quite right at the moment because the two meshes exist on top of one another really.
We don't want that.
So we need to lower the eyeball itself or actually push out the lens.
In fact in this case I'm going to do both.
So let's go back over to the eyes themselves.
Switch back into solid mode over into edit mode and let's grab.
I'm going to add a loop.
Cut him first then I'm going to turn texture back answers here.
So I'm going to add at the loop come but right up against here which would generate an edge on top of
an edge but it will enable me to just move back the whole top bit here quite easily.
So control an R for loop cuts here.
And now the slide between medium but it up against this edge here and now when we go into phase selects
we will see.
Let's go back to solid mode that we've got these dots going around here.
And that means that basically there's two edges on top of one another and there's an infinitesimal small
face along there so let's go ahead and select all these top so I'm going to move around here and using
circle select on and to make that circle a little bit bigger.
And I need to select a little bit more going round here being nice and slow with it so I get all of
the bits I want.
Excellent.
And I need to move that backwards ever so slightly so let's just move our ball around.
Perfect.
And I'm going to grab it and move it.
But I'm going to hit Z and then Z once more to move it in and out.
And I'm literally going to move it back ever so slightly as inside our model and I switching to wireframe
mode you can see a bit more detail of what's going on there.
That looks good to me.
In fact that may be a little bit too much.
Not sure.
Let's see how it works out.
Let's go to our lens and we're going to do a similar thing here so let's hop in to edit mode.
Without wireframe on so I can see what's going on and I am literally going to select this centre bits
here.
But not the extra bits just remove those with the middle mouse button.
Now I've selected that I can do a similar thing as I did before grab and z z but I don't want this sharp
cone coming out so I'm going to stop doing that and turn on proportional editing down here and enable
it.
And let's grab a move that's now at the moment.
That means that the proportional editing circle is far far too large.
So I'm just going to use a scroll wheel there we go.
It's come back down.
I do not want to move this base.
It's going around here.
I don't want to move that away from our eye.
Otherwise it would look very odd.
So they on to move that far.
Even so I want here to go z and z.
It's coming out in the right direction.
And probably to about there.
Excellent.
So let's see how that's looking that's go over to rent mode and have a look.
That is looking much better.
Excellent.
So there's a couple of final things to do here.
We need to set up our camera so little to borrow another camera I'm going to borrow a 35 mil one.
And it's hidden at the moment so I won't be able to duplicate it whilst it's hidden so let's hide it
and duplicate it.
Excellent.
I'm going to name that.
I can so I know which one it is.
Excellent.
Right.
Let's go round.
Let's set the active object as that camera and lock for camera to view in the properties here.
And let's now zoom in and round in and here.
That's probably a little bit too close.
No.
That will do.
I'm happy with that.
And let's just render the image and see what we've got so far.
Okay that is looking pretty good.
If a little bit noisy.
And of course the noise level here is simply the number of samples we've got.
So let's go to our random settings here and I'm going to up in sampling.
I'm going to ah it's only at 10.
That's why.
So I'm going to.
Up to 100 for the moment.
That might be a little high but I really want to see what the details are going to come out like.
And further down here I've just one when that was actually rendering there and it is the tile size.
Once you get used to blend yours go oh that's a bit too big so I'm going to lower that down since I'm
on a C P U.
I know that it works really well with 16 and 16 16 and 16 so that's render that once more.
And hopefully this time we'll get a better impression of the actual quality especially when the samples
have gone up tenfold.
So here we go much less noise we can see already in the reflections themselves.
I'll look at that that's absolutely crazy towards the top here in the rabbits I work because we've now
put the lens on top.
We're actually getting a reflection of the eye socket itself and at the top here that looks like a reflection
of the rabbit's ear as well.
So obviously when we're this close it starts to highlight some possible problems like the skin tone
of the rabbit may change that to be slightly less pink.
And I think to make it a bit more natural but we've got a really nice looking I hear and obviously you
can play about with the type of Iris that you've gone for on your app.
I'm quite happy with this dark dark rabbits I hear after looking at reference material that seems to
be pretty accurate and this is looking really really nice.
I'm going to stop the end of their gaze.
I don't really need to see much more of it.
And I just click the little cross at the top here and I'm going to save that image because I'm really
happy with that so I'm going to save as image and I'm going to pop here.
I close up.
There we go.
And save that image.
Excellent.
How did you guys get on.
I'd love to see how your eyes are coming along.
It's really detailed now it's really coming along really nicely.
And we're going to start working with the rest of the scene very shortly so please share it in the discussions
and I will see you guys in the next lecture.