In this video, I'll finish up the low poly version of my model by performing a UV layout and preparing ourselves for baking. Now that all the individual pieces have been unwrapped, it's time to lay the whole thing out together. I take all these objects that need to be duplicated, like these eyes swivel pieces, I'm going to bring back the high poly really quick so that I can make sure that when I duplicate over the low poly, it's going to be in the right spot. I'm going to rename these while I'm at it because I recognize when I duplicated those, it gave everything the same name just with a high two instead. So always going back and making sure it keep everything named as it can to help my project stay nice and organized. So I'm going to take my high poly and my low poly here duplicate it, and let's make sure it lines up. That looks good. So I can also just to for extra security I'm holding V and I'm trying to snap it to the vertex on the center, but it looks pretty solid, so I think we're in good shape. Now I can rename these as leftEyePiece. I'm using leftEyePiece_low as long as you're being consistent, so I was using R and L, but that was a little hard to read, so I want to change that out for right and left instead. So now I have the whole object, all the pieces together. Let's make sure we freeze or transforms, and it says we can't, because there's a rotation and calming. Sometimes if you click on an object or you hit S on it like maybe you're trying to save, and instead hitting S you to control S, you can see there in the rotate tab there's some read information indicating something at a keyframe. Just right-click it and you can go to the keyframe. Now, we're fine to freeze our geometry. We just want to make sure before we do the next step that everything's frozen, we're going to delete our history a lot, select over all the objects, altogether just like this. I'm going to take all the UV shells and I'm going to lay them out altogether. So polycount has this really nice Wiki and in there they discuss ideal padding that will work well for Mipmapping. So basically, we're looking at at 2048, we want about 16 pixels in between everything. It's a nice standard, it makes sure that we won't get any bleed over, even as we do submit mapping and you would reduce the size of a texture inside of something like a game or even a viewer in something like marmoset. So we go to the layout, we can see that my packing resolution I can set here, my texture map size to 2048, and then I can choose that shell padding of 16 pixels, which will make sure that there's at least 16 pixels between everything. I want preserve 3D ratios on, I wanted to build a rotate shells but only in 90 degree angles, then I think this is mostly going to look good for what I want. So now it's going to do its best to pack everything in and keep enough distance in between and at least 16 pixels in between everything. We can see here I got some really teeny tiny little UVs there, not a lot's going to bake on those because they're so small. I could make a more efficient UV unwrapped by hand, I can maybe give myself another 15, maybe 20 percent even worth of space by just being really smart about distributing it. But again, this is portfolio work is what I'm looking for, and I'm going to be using a pretty large texture map that would be a lot of time for not a lot of results. So I think this unwrap will work pretty well for what I'm doing this layout here. So we can see altogether that we have pretty even textile density across the whole model with our grid turned on, this is going to be ready now for us to take this low poly with the UV, a high poly, bring it into marmoset and start baking our normal maps.