Okay, now that I've shown you what texture mode can do, let's put a label on this object. So I'm gonna go in, make a new material, open it, and map an image onto that color channel and then just drag it on to the label. So it's gonna be like that. And first of all, we can go into the material tag, uncheck tiling, go into texture mode, right there, and change the mapping or change the projection to cylindrical. So let me get that and move it up. To the right there.

I'm gonna uncheck this camera. scale it so that it fits on to the object and then scale it this way and then rotate it. So I'm going to show you a way to cut out the rest of this label to by making a Photoshop document that we're going to end up using as the label. So now if we go back to a camera and do a render, we see what looks like Okay, cool. That looks pretty sweet. Let me just at the very beginning and then go in and cut out this label so that the gray material disappears as well.

And that's when we go into Photoshop and make a Photoshop document. That'll end up becoming the image that we map onto that label. So let's go into Photoshop and make open that image up. So here's the image. And we're going to want to expand this canvas so that it's going to wrap around more of the bottle and we can use some of the extra space for other things. So as you go to the crop tool and holding down all will expand it out this way.

Perfect proportionally, and then like this, and that's nice. Hit enter. Okay, great. So now I'm gonna save this wine label as the Photoshop document. Because cinema can read Photoshop documents, you can actually select the layers if there are layers, you can let select the layers inside the material instead. Which is pretty nice.

So let me go into this again, I'm going to bring this down to right here, so we can just get the label as it changes. I'm also going to turn off the transparency on the wine bottle so it calculates faster. I'm gonna turn it back on when we're done. Okay, so I'm gonna go back to the label and call this one label. And I'm gonna go back in here and click that and then select the Photoshop document. So now when I do that, because I expanded the width of that file, now it looks really squished because it's a wider image now, so we can go back to texture mode still, and then just expand this scale it outwards so that it goes across the whole bottle is a little bit too scaled.

There we go. I think a little bit taller as well. That's pretty cool. Okay, so the great thing about the way cinema plays with Photoshop is because there is a transparent layer on this file. So this is all transparent right here. I can actually tell cinema that to use that transparency to cut out the rest of the object, the wind label object.

Now when I do that, when I go into is this channel right here, the alpha channel, I check that nothing's gonna happen yet until I map an image into this texture field. And I can just go back to the color channel, hit this right arrow right here and copy the shader. Go back here, right arrow, paste the shader. And look how it disappears. So it knows because it says because image alpha is checked, if I uncheck this, it will go back to this. But since it knows that there's transparency in this Photoshop file, and I checked that, it'll read it as the transparency on the label.

So it automatically cuts it out. That's really awesome. And now let's render this and see how that looks. That's pretty cool. And it's all cut out and ready to go. So it's not the render region.

And I'm just gonna go around this bottle and see if it's all cut out. See, it's not going to show up until we render, turn off transparency again. So what's going on here is the image itself doesn't go around the whole bottle. And that's why so you can see how it's not going all the way around. And so the part that's not going to lay around, shows up again is just a gray material. So I'm going to do is scale this to be all the way here disappears.

Now But now this is too stretched as a label. It's not too bad, but I can show you how to fix that too. So if we go back into Photoshop, all I have to do really is just take the crop tool again and expand it outward some more like that. Now, if we save it and go back into cinema, nothing's gonna happen yet until I go back into the material where the wine label is. and go to the color channel, go to the File and click this button right here, reload image. You see how it changes.

And also anything since it's also mapped right here. I need to go back into this channel and also reload this image too. Because there's basically two images going on as is this one, and there's this one So any change that gets made in Photoshop, got to make sure you go back to the channels that the image is mapped to and make sure that you go in and reload the image after it's saved. So now to go around to the back. It's all cut out ends up looking, it looks like it's not stretched out at all. So that's really nice.

Okay, great. So it's mapped. That image is mapped and I can rotate the texture. Okay, so I'm gonna show you a couple other things you can do. Now that we have this image mapped. One thing obviously is it looks a little bit fake.

Because there's not a lot there's like not really a paper texture going on to this And there's also like the shiny ness of it, the reflectance isn't very accurate. So we go into reflectance and changes at GC x again, you see how it changes and turn them just to see how that reflection looks it can turn to shine the roughness down. Now that's definitely not what I wind label would look like. So if we bring this up, and some little bit of reflection strength I can start adding some detail to the reflectance of this paper. No, that's not you know, it's still not really very accurate because paper has a certain type of texture to it texture in the sense of like fine detail, like a canvas or anything or you know, things like that, like materials like that and the best way to do Easiest way to do something like that to add that fine detail texture to this paper is by adding a bump channel.

Now a bump, the bump channel is really, it provides the illusion of fine detail without actually increasing render time, or adding more polygons detail or subdivisions to an object. And you'll see what happens when I turn this on. Now, nothing's gonna happen yet until we add a texture to this bump channel. And you could add an image if you wanted. But there's also a really powerful section inside cinema called noise. And now what noise is and you can see now when I add it, it's pretty gross.

But noise is procedurally generated. So it's infinite. It goes on forever. And the detail is as much or as little as you want, basically. So it's really nice to have. It's an easy quick way to, to add really fine detail to objects without having to find any kind of images online or anything.

But obviously, like by default and ends up being not very cool initially, but there's a ton of options. And if you go into this noise, so if you click on this noise, now that is mapped to the text field, and you can go to this drop down called noise. These are all these different types of procedural noise. These are all different types of procedural noises that cinema provides. And that's kind of hard to see what all these do and you can get lost like trying each one. There's also this little tiny downward arrow right next to that, if you click that, it'll give you a visual representation of what these noises are and how they look flat.

And so you can go in and I think I've always liked. Let's see, where is it. So I click that you can see how the image of the of the noise changes. And you can also see just how much detail this ends up adding to this paper. It's pretty amazing. And obviously, it's too, it's too much going on right now.

And it's kind of too big, like the scale of the noise is too large. And that's really easy to change right here in global scale. And if I just type in 50%, you can see this image changes and you can also see how it'll change on the paper. And that's still a little bit too much. I think even like 20% and that's getting there. The size of the of the noise right now is what I'm looking at Obviously too much noise and we're gonna turn that down in a second.

But I want to get the right size of this noise, I think even even just 10% actually. Now that's pretty good. And I'm going to turn down. So if you go back to the bump channel, it's the strength right here that needs to be changed. And you can just scale it down I think to like 5% strength. And now that's starting to get more realistic, have a kind of unique paper texture for this label.

I think even Well, that's, that's a good starting point. I'm gonna go back into here and I actually want to scale down vertically, there's no I so it's not uniform. And you can do that right here in relative scale. By default, they're all hundred percent. So if I just take because this x and this is why this is z. If I scaled down the y direction to 50%, it'll start to get squeezed vertically.

Because I kind of want to mimic like a, it's more like a vertical. It's like a horizontal Sheen, kind of going across the label. And that's even still too much like if I bring this down to 10% in the y direction, it'll start getting kind of squeezed vertically and give it a nice kind of horizontal sheen. Now, I think it's getting lost in the detail now because the strength is too low. So I'm gonna bring it back up to 10%. That's okay.

I'll maybe do 8% but then it's too shiny. And that's kind of the reflectance channel. So if I bring this Go back to reflectance, bring the roughness up and reflections strength up a little bit. That's not bad. I think it's actually nice to go back down to like, I guess 6% strength on the bump channel. That's great.

That's a nice that's a good amount of really fine detail on this label to give it that paper look. It'd be fun to add some gold leafing for this logo right here. I'd like this. This part of the logo, maybe these grapes to to be shiny Have this stay, you know, kind of matte like paper. And that's a cool way of there's an easy way of doing that. And that's determined by the Photoshop file.

And I'll show you how to do that right now. So if I go back to Photoshop, what I want to do is create a mask of black and white mask of this part and these grapes and this actually this frame to tell cinema, I want this stuff to be shiny, and everything else to stay in paper. So I go in here, and I'm just gonna do a magic one tool and just select that color and if I go up, if I do that, and I go into this select drop down, I can, I can do this thing called select similar. So it'll go through and select the similar colors that I just selected. And it did a pretty good job. I think.

I'm gonna copy this layer. I'm just gonna hit this The mask button. And that is now the mask that it was made that I selected. Now this isn't gonna make a difference in cinema until I turn this part white and the rest of it black. So you're gonna need a completely black and completely white image like this. Now what I'm going to do is this is the actual image.

And so I'm just going to right click and apply this layer mask, double click the Layer, open up this layer style dialog box and select color overlay. Now when you do that, because now this is a transparent layer, it's going to overlay everything with the color. And all they need to do is make sure that that color is white, just like that. pure white. And then the next thing is to just make a new layer. Actually I'll just take this one right here.

Put it below This layer and I want to take the paint bucket tool, go to black and white and use the paint bucket tool to make this layer black. Now this is exactly what you need. This is an actual image, it's not just a Photoshop mask. And this needs to be mapped into cinema to tell it that these parts of the image need to be shiny more than the paper just gonna call this gold leaf. I'm going to combine these two layers by shift selecting and then merge layers. So now I have the wine label color and I have the gold leaf now when I save this it's gonna mess up cinema but we can go in there and remap this image.

So now if I hit Now if I go to the color channel in here and then reload the image, it seems to work, which is good. And the cool part is this layer SET button right here. Because I reloaded the image and I had renamed the layers inside Photoshop, I can click this Select button, and it'll show me the actual layers that I had just created and renamed. And if I select wine label color, hit OK. Then this is the layer that's been shown in the color channel. And now when I go into alpha, reload, it's fine. And I'm just going to select the wine label color layer as well.

And also check the box that says generate alpha because if I don't do that, look what happens. It'll go back to being semi transparent. I need to go in to the alpha and the alpha channel, layer set, hit select and make sure that this checkbox is checked to say generate alpha. Okay, awesome. So now we need to map on this gold leaf look. And the way to do that is in the reflectance channel.

Now, you can actually add layers of reflectance reflecting this channel and then you can use masks to mask out those different layers of reflectance. So right now, this is the general paper texture reflectance, which is what we need and I'm actually going to so it's right here. It's called default specular. That's what's called when you make a new reflectance. I can double click this and rename it going to call this label paper. I'm going to add a layer and ask you what kind of specular you want to add.

So I'm gonna add GG x again. And you can see when I add it, now it all gets covered up with this new layer of reflectance if I turn off this I it will go back to be normal again. So this is a layer like a layer based system of reflectance. So I'm going to turn it back on, double click on that and call this gold leaf. Now you can see when I select each of these layers, the settings change. So if I go into here to the gold leaf layer, there's this drop down right here, layer mask.

And it's asking you can map a texture onto this layer mask and it needs a completely black and white image. So if I go into a texture, and then select the wine label Photoshop file it'll show up like that. But I need to go into this and then do the layer set, select and then point to gold leaf, the gold leaf layer and hit OK. Look at that. So now it has this image that's masking out the reflectance channel. So now it's just showing up for those parts in the image that we set that were white in that Photoshop file and everything that's black gets cut out. That's super awesome.

Obviously, this is the wrong you know type of reflection, but that's okay. We can totally mess with it. So turn the roughness up a little bit. reflections shrink down probably. But for the most part, it's pretty much there. Maybe getting some more roughness, lower specular strength.

So now what I can do is I want to change the color of the reflectance. This gold leaf basically want to make it gold. And the way to do that is inside the layer mask drop down right here you have color and then you have texture. Now if I set the color to yellow like a like a gold nothing really happens because I have to set the mixed mode between the color and the texture right now set to normal, which means it just takes the mask image itself. And that's it. So if I change this from Normal to multiply, you see how this preview changes.

It actually multiplies the color on top of the white parts of this image and then maps it onto the label. And that's how you get your gold leaf. There we go. That's nice. That's looking like some gold leaf right there. Okay, look at that looks awesome.

And then just one more thing, I'm just going to add a quick material to the wrapper. I just want to make it purple. And I'm actually just going to copy the wine label material and call it a wrapper. What I want to keep really is just the reflectance of the label paper and the bump, but not keep the alpha channel or the image on the color channel. So I'll make this kind of a like a burgundy kind of I'm gonna layer for now for this. It's gonna be nice.

Nice we're getting very close. This is nice