3D Game Art: Sci-fi Armor with Blender 2.9 and Substance Painter | Daniel Kim | Skillshare

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3D Game Art: Sci-fi Armor with Blender 2.9 and Substance Painter

teacher avatar Daniel Kim, 3D Artist and Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

31 Lessons (6h 58m)
    • 1. Introduction

    • 2. Lesson 1: Blocking In Armor with Primitives

    • 3. Lesson 2: Finish Blocking In Armor

    • 4. Lesson 3: Refining Block In

    • 5. Lesson 4: Refining Block In Pt. 2

    • 6. Lesson 5: Refining Block In Pt. 3

    • 7. Lesson 6: Refining Block In Pt. 4

    • 8. Lesson 7: Detailing Arms

    • 9. Lesson 8: Detailing Hands

    • 10. Lesson 9: Detailing Legs

    • 11. Lesson 10: Detailing Feet

    • 12. Lesson 11: Detailing Hip/Waist

    • 13. Lesson 12: Detailing Chest

    • 14. Lesson 13: Knee Caps

    • 15. Lesson 14: Refining Boots

    • 16. Lesson 15: Refining Lower Legs

    • 17. Lesson 16: Refining Arms

    • 18. Lesson 17: Refining Chest

    • 19. Lesson 18: Refining Chest Pt. 2

    • 20. Lesson 19: Refining Chest Pt. 3

    • 21. Lesson 20: Marking UV Seams

    • 22. Lesson 21: Choosing Base Materials

    • 23. Lesson 22: Choosing Base Materials Pt. 2

    • 24. Lesson 23: Hard Surface Details

    • 25. Lesson 24: Adding Weathering Effects

    • 26. Lesson 25: Hard Surface Details Pt. 2

    • 27. Lesson 26: Hard Surface Details Pt. 3

    • 28. Lesson 27: Manual 3D Painting

    • 29. Lesson 28: Adding Wrinkle Effects

    • 30. Lesson 29: Final Tweaks

    • 31. Conclusion

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About This Class

This course will take you through the steps of creating a cool looking science fiction armor outfit for a video game character. The tools we'll be using are Blender 2.9 and Substance Painter.

You'll be able to watch the full process from start to finish. The course lessons are minimally edited without sudden jump cuts so you can see every mouse click, button press, and brush stroke. You'll pick up specific techniques - in both Blender and Substance Painter - that will bring results quickly and efficiently without sacrificing quality. 

After taking this course and going through the steps, you'll end up with a sci-fi armor asset of your own that you can be proud of. You'll be armed with a bag of tricks and secret sauce techniques that will help your work standout in a portfolio, game project, or animation.

The 3D modeling tips and texture painting tips presented in this course are versatile and can be applied to an array of other asset types such as weapons, vehicles, and environments.

Meet Your Teacher

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Daniel Kim

3D Artist and Designer


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1. Introduction: Hi, welcome to the sci-fi armor course. Here we're going to use a couple of different tools, such as blender and substance painter to create this futuristic character alphabet. And once we're done with that, we can use it for video game project or an animation, or you can even simply throw it in your portfolio. So we'll begin in blender to do all of our 3D modeling. And once that squared away, we're gonna move on to substance painter to bring color and life to the model. Afterwards you'll have a pretty solid understanding of how to do hard surface cared to outfits. And you'll be on your way to making lots of futuristic armor for all of your future projects. 2. Lesson 1: Blocking In Armor with Primitives: Hi, welcome to the sci-fi armor course. I've got blender open with a fresh, new empty scene. And I'm gonna walk you guys through how to put together a sci-fi armor alphabet for your video game character. And starting out, I love to use the armature rig. And if you don't have that available as an option under the Add tab, go ahead and unlock. Add on from the list of add-ons here. Under blender preferences. That's going to be called the rigging rigor phi. Just check that box there and you should have this available to you. And one other thing I like to do once I put that in place. So you can see it's two meters tall, but I like to bring it down to about 2.8 meters. And that roughly translates to just under six foot. Otherwise, if you leave it at two meters, we're looking at six foot six guy. And you know, that's a bit on the tall side. I feel like this is more representative of the average male. So with that, we can begin blocking in our characters armor. Now, I will say starting off, I'm going to take a lot of inspiration from a certain, certain fairly famous video game character from a very popular franchise. So, if you're well-versed in video games, might recognize where are the armor and design came from. So most of the primitives that we'll be using to block out the armor will be cubes and cylinders, but probably cylinders more so than cubes. And I like to once, once you add a primitive, you see a little tab appear in the lower left corner. And that lets you change some settings. And I want to set this to something much smaller. So that the next time that I add a queue, it's going to remember this setting and continue giving me new cubes in this new size. That's gonna come in handy later. Because I won't have to spend the few, the couple of seconds that it takes to scale the queue or the cylinder down to the correct size. So I'm gonna do the same thing with the cylinder. Just bring down the resolution. The number of sides to something like, I think we can start off with eight since we're just blocking out roughly. And then see, let's bring the radius and the depth way down. So now this is a cylinder. That's much easier to work with. Right? So now when I add a cylinder, it's this nice, manageable shape. And every time I need more primitives, I just saved myself, you know, the few seconds that it takes to change these settings. Okay. So let's begin covering this guy up. I'm going to start around the torso area. Now as I rotate, I'm holding down the key that lets me snap to increments, which lets me rotated to a perfect 90 degrees. And I'm, I won't be calling out specific keyboard shortcuts simply because I prefer to use the industry compatible Ki Map. And you may be using the default blender key map. It's really a matter of preference. But for that reason because there's multiple key maps, I'll simply referred to what I'm doing here by the name of the action or the function. And for those of you who are brand new to Blender, I do have a handy PDF attachment to this course that basically lists out most of my favorite keyboard shortcuts in both Ki Map configurations. So you can take a look at that and have it handy. So you can conveniently referred to it whenever you need it. So anyway, back to this. I wanted to cover up the shoulder here, going into edit mode. And I want to get rid of these faces. I want to add another cylinder. Now keep in mind I am using a few shortcuts here in there. So if you're really brand new to you, I mean a brand-new to Blender. You'd benefit a lot from just taking a few minutes to get yourself familiar with. How to navigate blender and how to do basic modeling. So now with this cylinder, we're going to cover the waste. And then you could just copy and paste this and bring it down and use it again for the hip. And I want to create an angle here where it connects to the legs. Let's bring in some more cylinders. These will be for the thighs and actually I'm going to break away from the skeleton a little bit. Just so we can get a more natural-looking default pose. Looking a little flat from the side, stretch that out. And here's an opportunity to use a queue for the foot shape through that front face. And we've got ourselves a wedge in place for the foot. Some more cylinders to film the arms. And you can see now how basically following along the skeleton here. So I really like this as a quick, easy way to, to use as a guide. And you can trust that your human anatomy and proportions are going to be generally correct. Songs you follow along the skeleton. Here's another opportunity to use a box to block in the palm of the hand here. And let's cover the head. And actually we can use a feared primitive. Bring down, bring down the resolution. Way down. That sit there at the top. Okay. So now the skeleton is, has outlived its usefulness. We don't need it anymore so we can get rid of that. And now we got a half of the arm are blocked in. They're just going to combine these and freeze transforms the mirrored across to the other side. Apply. And we've just taken an important first step in creating our sci-fi armor. So that's gonna do it for this lecture. I'll see you in the next one in which we're going to connect these different pieces and start detailing the geometry. 3. Lesson 2: Finish Blocking In Armor: Our character armor blogged in. I want to take all these separate individual pieces and start combining them with each other so that they connect smoothly. For so I'm going to go through and select the faces. We won't be needing anymore. This button makes it so that when vertices are pretty close to one another, though, automatically willed. The X-ray toggle is very handy for trying to get to parts of your model that are not visible just from the normal view. So I think that just about does it for faces we don't need. And so now we're going to start bridging these gaps. Close. So everything looks very rough. Not very pretty. But at this stage, we're not worried about that yet. I'm just trying to get everything in place. First. Before you can bridge between geometries, you have to make sure they're there one object first. So I just combined the torso with a lens. Also. I just noticed the error there with abridging. It's better to do one bridge operation at a time instead of trying to do multiple simultaneously. So that's better. There are nearly done combining everything now, which is go to tidy up the upper torso area. And again, before being able to bridge, we need to combine objects. First. Again there. And I'm actually going to not joined the head to the body because we're focused solely on the armor and the head here. We just want to have something in place as a place holder just to get an idea of how ahead would fit into the armor. But this is really that this guy here is going to be our focus. And then once you get to a point where the armor is done, you can slap on a separate character head and you can use different head models with the same armor. So for that reason, keep that separate. But that's gonna do it for combining the separate G0 of our block and mesh into something that's a single continuous piece of geometry. 4. Lesson 3: Refining Block In: You've got a humanoid block mesh in here. It's in very rough reform. By now we're going to begin the process of refining the geometry. So that it actually looks like a cool sci-fi armor. For a video game character. I'm going to start off with a torso and then we'll slowly work our way to the limbs. So right off the bat, I'm going to want to create an opening here for the head to come out from. Yeah, I'm going to try and build up a bit of a color around the neck here. And actually, I know we just went through combining these meshes. But you'll find that it's a lot easier to model different pieces of the armor when it's separate. Because I want to start adding a bunch of edge loops. And this way when the piece of armor that you're working on is separated from the rest. Those edge loops aren't going to extend beyond just the piece that you're working on. And this makes modelling more manageable. Because if you don't, you just start modeling away without separating the different pieces. Your model can start to get very messy very fast. Now, I am looking at some artwork in drawings on the corner of my monitor as reference as I build this armor. And that's always going to be useful while you're modeling so that you're not spending so much time trying to design the shapes as you go. You know, you're just trying to replicate something from another image saw I highly recommend. That, you know, either for this exercise or for your own personal future projects. Always have some kind of drawing, some kind of sketch or artwork, either that you made or that you found online and just have that somewhere either printed out or on a, another monitor to, to follow along as you model your, your characters are, are your sci-fi armor. So anyway, I want to isolate this piece actually. And I'm just going to go around adding more, more geometry. So we have something to work with. Nothing fancy here, just a little bit of a vertex pushing very rough. I don't want to slow down and get distracted by details just yet. We still need to block out the general shape of the armor. Now, focusing on one side of this chess piece here. And instead of trying to do the same thing on the other side, will eventually delete, decide. Nero over the part we just worked on. Pulling out the knife tool. So up until now I've been using the edge loop tool when now I like to bring this tool out. When I need a little more precision, my cuts. And I need this specific edge loop so I can really bring out this color around the neck. Okay, let's go ahead and mirror this to the other side. First, I want to make sure all these votes are aligned. And sitting right along the center mirrors correctly. Using the modifier tool. Looks like some things off. Still. There we go. And instead of applying this, I'll just leave this here. So as long as this modifier is active, whatever changes I make to this side will be reflected on the other side. Right? So you're beginning to see the shapes come to life. Still not very detailed, but we're now beginning to see sort of the direction that this is going. So once we get this to a nice place, we can leave it here at, at this level of detail and work through the rest of the body. I guess the one thing that's a little tricky about this particular armor design is that There's a lot of smooth, curvy shapes. And that just means a lot of massaging and vertex pushing to give all these faces, this flowing look to it. 5. Lesson 4: Refining Block In Pt. 2: So let's leave the torso there on high of the rest of the body. And I'm going to tackle the waste now. And just like before, we're going to separate this mesh from the rest of the body to make it a little easier to work with. And again, just like before. And we're going to focus on one side of this piece. And then we'll get around to mirroring it to the other side. You definitely don't want to waste time doing the same thing twice. And there's no need to feel attached to the block in geometry like the faces that are connecting the pelvis to the legs that are a bit messy. So use, use what's useful and get rid of anything that's not. And actually I'll go ahead and perform that near operation. Now. Let's delete these faces and remember to make sure these are all lined up. I like to scale it to 0. And then the second thing is of course, make sure it's right along this. The X to Y axis line here. And you can do that by turning on the the snap toggle and snapped to the increments and absolute grid snap on. So it's going to snap to this green line there. And that now you know, it's safe to mirror it and it's going to work out correctly. So from here, I want more geometry around this leg opening. So before we had a pelvis that was very flat in blocky. But after adding a few edge loops and moving some, moving some vertices around. Now we have something that looks more organic, more round and smooth. Here just introducing more triangles by adding edge loops, by using the knife tool and rearranging those additional vertices until you get something nice and smooth. Like this. The hip is facing. That way. This is the front. So I want this line separating the hit from the waist to come at a slant facing forward. And then I'm going to want to. Add more edge loops. I go horizontally for the waste here. Let's unhide the rest of the geometry to see how it fits with the torso. And right now the waste is looking very skinny, almost like our character's wearing a course set. So we can always go back to the torso and readjust things. They're like, I think I need to make this opening wider. And actually this would be a good time to turn on proportional editing, which allows you to select just a handful of vertices and then it'll influence vertices nearby like that. So widening the torso piece allows us to go back to the waist and give that more more room to stretch out to the side. It looks much better. Still looking kind of skinny from the side view here. So same thing. I'm going to grab the opening around the torso and kind of push it back and forwards. Like so. And that gives us room to then scale out the stomach area. Same with Elvis. Actually. That's much better. It's looking a lot more natural than it was just a moment ago. Anatomy wise. Oh, okay. Alright. So our torso, let me turn off proportional editing. There are torso is in a pretty good place. So now we're going to pause there and move on to the other limbs. 6. Lesson 5: Refining Block In Pt. 3: Let's get right into detailing the limbs or at least giving them some shape. Okay, now we're going to move on to working on the limbs. How about we start with the legs and delete this other side. Real quick. Separate the leg from the arms and make sure that the origin is set to the center of the scene and was slap on a mirror modifier. And start adding in some more geometry. We're just gonna play around with proportions to make the leg look Meteor. And less like a pencil. And just like that, just a handful of edge loops up and down the leg. We now have a much more natural looking shape. Same idea for the feet here. We just want to get rid of this very simplistic, blocky look and make it more smooth and round. Really, it doesn't take much to detail of the block mesh that we started out with. So now we've got a parallel eggs that looks a lot more like a pair of legs. Now, I'm going to remove this middle geometry where the needs are. And imagining separate plates for the farmer and the lower leg armor. We need something in between as a transition. Which makes sense, right? If you think about how joints move, you can have hardened pieces of armor on parts of the body that are moving, but right where the joints are, you need some kind of a different material. Again, just your classic old vertex pushing technique here. Nudging things into place. And actually I'm gonna go ahead and separate all of these different pieces. I copied and pasted the shin geometry, the lower leg geometry. Because I want to use part of it for this nice section. Right? I could have made this piece from scratch by adding another cylinder, but if you already have something in the scene that's similar to shape to what you're trying to create. Copying and pasting is a fast shortcut to the same thing. For the knee. Joint. Connection geometry here. This material or this piece of the armor or might be made of a rubber material or something that can fold and be flexible when, say, the character is crouching. So we're going to leave that there as is. We're not trying to make anything perfect right now. We're still sort of in the later stages of blocking in our shapes. No need to worry about locking anything down. All of these shapes are still prone to editing further down the process. So I just want to again seal up the gaps. I think I need to widen this entire hip area for the legs to fit in better. Okay, now, let's cover the angles. Same technique. We're going to borrow an existing part of our geometry, duplicated and just move it into place. Okay? So that's gonna do it for the length. 7. Lesson 6: Refining Block In Pt. 4: We're moving on to detailing the arms now. So let's start by separating these pieces and just deleted the other arm by accident. But I actually, I don't mind that because I want to mirror this to the other side. And I know it seems like we're undoing some of the work we did with blocking out this rough character. But the point of combining all the pieces together was to make it easier to make adjustments overall. But now, since we're making armor pieces, we know that most of the time that the armor plates are going to be separate pieces that kinda break along wherever the joints are going to be. So it's not unusual to be flexible about re-working parts of the the mesh that that you've already worked on. So here let's start on the upper arm on actually. And go ahead and slap on the mirror modifier. Going to align these. This is edges. Manually one-by-one. Them roughly in place where I want it. And then I'm going to break off this piece. Because this, this piece here I imagine it will be a hardened metal material. And then this piece, because it's a joint, it's a, it's a, it's part of the character that, you know, down the road when you get around to animating this character, you know that he's going to, there's going to be a lot of movement at this, this part of the character. So I imagine this is going to be made of some kind of. Softer rubber or fabric material. Which is why I separated this. And just to make it more obvious that these are different pieces, I'm going to have this part overlap. This piece here, like so. And I want to line these up a bit because you're looking really jagged and messy. And you can resize it, scale it to 0 on one axis, and then go back and set it at an angle that makes sense. Also going to add another edge loop there. And that's going to do it for that joint. Let me separate all these pieces. Is when I when I select this piece, selects all the rest of the arm and I want them to be separate pieces when I select them. So separate by a loose parts. And now they're completely separate. Again. I pulled this part up like so because I want to make room for movement. So this is another joint or the elbow is going to be same thing here. I want to create enough room here for movement. You can just picture in your head this elbow, bend like this at an angle. Nita leave space here for that to happen without these metal plates kinda crashing into each other. Probably can't hurt to add another edge loop in the middle of the forearm piece here. And I'm going to want something to connect these two armor pieces. So I'm just going to duplicate part of the forearm. Separate it from the forearm, and move these vertices into place. Line them up so that they're going inside of these different armor plates. And that's going to be where we fit in. The elbow. Can add an edge loop and give it a little shape. So it's more elbow like. So that's gonna do for the elbow joint there, moving right along to the hand. So let's give it a little roundness. We're gonna go ahead and add some fingers to this hand here. First, let me finish up the base of the hand. So that's a good good place to start. We're going to need some new geometry here. Let's add some low poly cylinders. Hands can be kind of tricky, but they don't have to be. You can just think of it as, you know, for we need four fingers coming out from this flat surface. And then we need another finger coming out at an angle from this surface. So really all you need to make two fingers. One that's going to stick out from this angle and then we'll just copy it three times over. So you have four coming out here and then another finger here. That's like a slightly different shape coming out this way. And every finger has two joints in it. So I got these two edge loops in the middle between the base and the tip. And they tend to get gradually skinnier. Towards the tip. Law there are thickest at the base. We want to give them more of a relaxed default pose. So we're going to introduce some angles for this finger. So there's a finger there. And now let's just copy and paste it over down the hand. Make little adjustments. Like so. As you all know, the pinky is the smallest finger, pointing fingers. The next smallest ring finger is this is the second biggest and of course the biggest fingers and middle finger. So leave it like that. I'm going to make adjustments to the hand. Base here so that the fingers sticking out of it more naturally. And I like that. And I actually, I'm just gonna copy and paste one of these fingers and convert it into a thumb. Just rotated about like so, and then stick it in there on the side. Now, you can always look at your own hand as reference. And notice that the base of your thumbs are very, is very wide. So now we have ourselves a fully blocked out hand. Something like that. Looks pretty good. Now let me just take this base and extrude it out a little so it tucks inside the forearm armor. Like so. And this actually is some minor adjustments here. And let's get rid of faces that we don't quite need. Join all those fingers onto the hand. Frees transform so that the pivot is at the center. And now we can near it so that we have a more detailed version of the blackout mesh. 8. Lesson 7: Detailing Arms: Kay, so last we left off, we had a pretty decent rough model of our sci-fi carries her armor. Now we're gonna go in and add in some final geometric details to the mesh. And we're going to save some of the smaller, finer details for texture work later on. But there's still a lot of detail to be added just with the geometry. So let's go ahead and get right into it, starting with the arms. So we left. The joints are the pieces that meet the joints of our armor. They're kinda looked open. We want to go ahead and close those up. And you can use something like the fill action. A lot of times it won't arrange the triangles and the way that you would want. So when they go in the more specific with the topology, with the use of the knife tool. Same thing over here. And actually you could probably just use the merge tool to do the same thing. All right? And the square root of surfacing of this piece of armor is very faceted. So I'm going to smooth out this entire sort of to light shape. Ok? So I'm going to. Punch the Heikki for Bevel and essentially doubled the amount of faces going around the surface of this forearm piece. And same thing to this edge loop. And add a bevel there. So we have a nice smooth shape of the noun before arm. And that did introduce some artifacts at the ends of this piece here. So we just need to go in manually. Merge vertices that need to be merged. Just hitting the 3p key, the repeat action key to perform the same action over and over again. You can clearly see that we don't really need these extra triangles here. Joining these vertices towards the outer edge. And there we have much cleaner topology there. Same idea over on this end. Alright. Last thing I wanna do, autograph. These faces. Actually grab the edges along the top here and give it a bevel. Like so. And I wanted to do something similar to this side. But I think yeah, I thought I thought that the bevel would and it did introduce a little artifact over here, but for the most part, it worked pretty well. So let's just manually go ahead and fix this little error there. And looks like all the other vertices are just fine. Last thing, I'll add a shade, smooth over this piece and let's see if we can't make some adjustments to where it's smooth and words where the edge is remained sharp. So actually, if, if this doesn't get your smooth, the Smoothing the way you want it, then you can go in and manually designate which edges are going to be sharp. And actually I think I want both of the these edges to be sharp. Like so. Okay. So you saw how this is simply a process of beveling and cleaning up the result of those levels. And just trying to smooth out the low poly mesh into something that looks more final. So let's isolate this and select all the edges around the object. Hit the bell key and the will to faces there. And here, I'll just manually add some edge loops on either side of the one in the middle. And these extra edge loops are gonna come in handy later for deformations when we have this character animated and moving its joints. These extra edge loops are going to be very handy for making those deformations look more natural. Okay, moving right along to the upper arm, selected the vertical edges L1. And we can use a loop in the middle there. So the way these vertices are distributed, they're sort of shore or this one as long as I'm short, long, short again. Want to make that more even. So? I'll just go ahead and manually push these vertices to the way I want them. Because unfortunately, in cases like this, there's no A real simpler, faster way to make these vertices spread out evenly. And it's maybe kind of annoying to have to push these vertices one by one, but you'll be done with what you need to get done before you know it. Just a matter of getting used to it. So the same idea here. And just wanted to even out the spacing between all the vertices. And we're going to call that good enough to apply smooth shade. And again, we want to eliminate this open gap here. So let's use the brush tool and close up the n, this armor piece. And again, like before, I want to turn this honest move under the normal tab, under the object data properties tab on to get more control over how this moving gets applied. And again, it's looking like me to be more specific about which edges exactly you're going to be sharp. So I selected these edges and now it's a matter of designated them as sharp. By marking them sharp. I actually want to label this as here. Like so. I'm going to distribute these vertices more evenly. Alright, that's gonna do it for the upper arm. Let's take care of the shoulder joint here. I'm gonna select all the edge loops that wraps around his peace. Will shortcut, doubled the amount of faces. And actually going to use the tool to add more loops there. Just the scale of these new loops to maintain this curvature. And also these edges to be spread more evenly. So I'll go in here. Manually, precedes out. Same thing up here. Okay? Yeah, so nice, even distribution. And it looks like there's a bit of a wantonness on this edge is kinda Jaggard phi 0 it out. In this axis. You can get all straightened. And then I'll just read, rotated back to the angle that it was. And now it's all nice and flat here, nice and smooth here. We will apply the shade smooth on this piece of geo tendons checkbox on. And we want the whole thing to be smooth. So that's good as it is. Don't forget the Save. Save frequently. Save often. Okay. We can tackle the hands next. 9. Lesson 8: Detailing Hands: We're gonna get right into the hands. They're still big blocky here. We're going to add more edge loops. We're gonna bevel that wholesome edges, give it some more roundness skewed, make it look more smooth and organic. And also, last time we left it, there are some lot of unresolved geometry here between the fingers meet the base of the hand. So we need to connect all these up and make it, make it flows smoothly from the base to the fingers with good Topology. So I think for that, I want to pull back the edges of the base of the fingers to give us room to transition to the base. And we'll pull this back. Okay? Start by adding some loops. Like so. I think we have enough now to start bridging. It's not perfect, but it's basically they're owls do same thing for our thumb. I wanted to create an opening for the thumb. So I'm going to delete these faces. And just the shape of the opening here. I get rid of some of these edges in order to maintain as many clods as possible four-sided faces. Okay, so now the thumb is basically set. Want to take a look at the fingertips here. Yeah, it looks like that to triangulate isn't really going to do what I wanted to. So we'll just have to manually cut our edges with the knife tool on fingertip at a time. Okay. Now with those edges in there, I can do stuff like this. And instead of a stub, we have a actual fingertip. And looking for ways to clean up the topology of it. The cleaner the topology, the better our mesh is going to deform once you start animating it. And we'll see isolate this. We definitely don't need this many faces at the, the edge of the hand here. So I'm gonna see if I can't combine some of these. Merge. Same thing, the next row of vertices. Alright, starting to come together. Now I just want to, and after I delete some edges here. So more vertex pushing, right? So that's going to just about do it for the overall handshape. Now I wanna take a moment to add some extra edge loops. On the fingers where we know it's going to form the most DB easier. Definitely one extra edge loops around the base of the fingers. And then for the knuckles thing, you'd be easiest if we just apply bevel to it. So I'm going to select all the edges around the fingers, had loops like so. And now our hand is going to be better suited for animation, which is added some additional edge loops. Here, the fingertip. And I'm just making small adjustments to break up this perfect taper. Right? Want to create this sort of the fingers going in and out, in and out around the nipples. To help you to more natural look. Right? Something like that. Let's apply shade smooth. Okay? And I know there's some artifacts around the knuckles here. But that's going to be largely visible. Once we have textures on the hand. Unhide the rest of the body see outfits. And I definitely want to adjust the mouth of the forearm armor piece here. This way, the hand's gonna fit better into the rest of the arm. Like so. Okay. So that's it for the arm. We may go back and do another final pass on the arm geometry. But we're going to leave it there for now and move on to a different part of this armor. 10. Lesson 9: Detailing Legs: All right. It's time to bump up the resolution in the legs and isolate with eyes. Select the vertices, I mean the edges around the whole thing like that. Bevel. Adjust the vertices. Aiming for more even distribution. Okay? I want to close off the top with the verge tool. Double the edges. And again, fix the vertices so that there are distributed evenly throughout. We'll repeat the process here at the bottom. And this time I'm going to try extruding instead of beveling. And it gives us the same effect of the beveled edge without The strangeness as far as where the vertices end up, like we did up here. Unhide everything, apply, apply the shades, move. And tell me to tell wonder where exactly to sharpen the edges. By marking it sharp. Also at this by Ps is kind of a boring shape is just like a can, just straight up and down. I'm going to give it a slight curvy shape. Like so. Probably need to scale the bottom here so that the joint piece fits better. So something like that. That's gonna do it. For the thigh. This is the proportional editing mode that allows you to select a small, I got a few vertices and then it'll influence neighboring vertices around it. K. So phi is looking okay. Let's give our knee joint piece the same treatment. Selecting all the vertical edges, first, plying a bevel and making some quick adjustments. Don't forget to turn off proportional editing when you don't need it. Just the vertices. Definitely want more edge loops, horizontal edge loops for the knees. Gonna need them when our character bends his knees. So we'll do something like that. Apply shade smooth. I think we need a widen the opening of the piece here. Because the ne, ne, part is barely fitting in like that and like that. And now we're good. Except we have to do the same thing along the rest of the FIS. Here we go. Okay? Now, onto the shin. Select all the vertical edges. Apply of eval. Merge vertices. Along the bottom. Oops. Like so. And we also wanted to close off the openings with the British tool. And instead of using the Bevel tool would just extrude slightly and scale it in to achieve the same effect. Okay? Finally, let's apply smooth shade and see if we can't make the edges chart where we want it. With the object data properties under normal tabs, auto smooth, checked on and adjusting the degrees settings. And it almost did, but not quite. So. Let's select these edges we want sharpened and mark them sharp. Okay? On high-end. 11. Lesson 10: Detailing Feet: Now it's time to look at the fee. Actually want to combine this piece that's kinda right around the ankles and combine it with the shoes. So in order to do that, let's join them and then bridge between them. Actually, before doing that, let me make some minor adjustments first. I think some extra edge loops would come in handy in making the transition between the shoe and the ankle? Smoother? Yeah, sort of. We'll just work with this for now. And thinking we need to make some adjustments to the shin armor piece in order for the shoes to fit better. And now back to the fee. Let's fix some of these N guns, v's faces with more than four sides. It's generally a good idea to explicitly tell your 3D baggage how to divvy up those faces. I just join some edges there with a knife tool. And I definitely want to represent the soul, the bottom sole of the shoe. So I will actually raise the bottom and turn on the magnet tool set to increment an absolute grid snap. So when I extrude, it's gonna snap to the 0 along the grid here. And now I can select these faces that run vertically around the feet. Actually I was going to extrude that. But another way you can add an edge loop here and then select the faces and kind of push them out. Okay? And it looks kinda boring with it being flat like that. So I'm going to grab these and raise, oops, don't forget to turn this off. Raise it up here along the back. Little bit in the middle there. And because things always look more interesting when they're an angle. An angle, angle. Okay. These will be pulled back some you see how easy it is with just a couple of extra edge loops. How this feat went from a blocky brick to a nice round shape shoe. This part can use bevel. Make this nice and round. There's these. And then let's apply the smooth shade. See what the autos move can do for us. 40 K and took care of the the very bottom hedges there actually. And I just noticed the back of the shoes and very smooth at all. Take a moment to address that. Okay, there we go. We could use another entity right there. Let's set this back to the vertex. The magnitude, because your heels are generally know, narrower than the front of your feet. Okay. Now let's select the edges. We want to mark sharp. And now we got higher as I will use the more high-risk shoes, is we can wrap up the legs by finishing up this joint that connects the legs to the hip. Apply a smooth shape. Doesn't really matter that these are straight. But I like to fix anyway, this is poking into other geometry, so let me just widen this little bit and then that'll be, that'll be it for the legs. Something like that. Think the proportional editing tool can help us out here. Alright, so we've taken care of all the lens. Santa, the torso. Next. 12. Lesson 11: Detailing Hip/Waist: Last but not least, we're going to hit the torso and bump up the resolution for this area, just like we did with the limbs. I'm going to start out by separating the waste from the hip. All right, so we've got these three pieces. We want to close up the opening at the bottom here where it connects to the bi's. First, let me hide everything else. Let's get the vertices roughly in the correct places. Before we apply a bevel on all these vertical edges. Alright, that's probably gonna do it. Just about me. They're going through grabbing all the vertical edges, even out the distribution of vertices. Okay? And let's apply bubble to this horizontal edge loop. And with the proportional editing tool on. Let's again try and distribute these vertices more evenly across the surface. Don't forget these edges down here. Let's get rid of this n one. And this one too. Okay? Apply shades move. Let's finesse the front of the opening here so that the joint connecting the legs fits in better. And do want to close this gap is extruded slightly and scale it in. We shall prove produce kind of a beveled effect on the edges. Okay, now it's time to close up this, this hole with the bridge tool. And now it's sealed up, nice and tight. Let's perform the same operation. Up top here. Extrude, slightly, scale it in. Make sure these vertices along the center here is aligned with 0 along this axis. And let's close this gap with the British. And let's see what we can do about sharpening the edges around the openings. Will designate this ring here as sharp. Same thing with the outer ring right next to that. Same thing up here. Merck Sharp. And I want this to be smooth. So we've been bump this up until that, creases gone. Now let's look at it in context. Looks like I'll need to pull this Ford. Like so. And I think wouldn't hurt to pull this backward will too. And in fact, we're going to stretch it out sideways also. Okay. That's gonna do for me. Bring this in. Sticking out a little too far. All right, so let's move on to the waist. Isolate, select vertical. Just before we do that, let's make some small adjustments here so that all the vertices are right where we want to. Kay, now, grab all the vertical edges, apply Bevel. And as you go in and out and just try and set it some place where it's nice and even. And let's apply to this edge like that. Shades move. Look at it in context. And let's just nudge the shape a little bit. So it's not just this boring, straight up and down too. 13. Lesson 12: Detailing Chest: Okay, moving on to the upper torso. Let's isolate or rather high unselected. But it's basically the same thing. And don't forget to turn off proportional editing when you don't need it. And lives nudge vertices into better positions. Want to add an extra edge here. So I don't like this big triangle. Just going across like that. And for some reason it's preventing me from drawing this as you cross it. So no worries, I'll just delete that face and rebuild it like that. And the reason why I grew out of the face and jiggle it around is just to make sure that all these points, all these vertices are connected, are welded. And if it's not, this is a quick way to find out on a fixed topology over on the side here. And let's bring the sides down so we have more of a ribcage shaped going on with this. Chances are I think we're just about ready to apply some bevels. As t these edges. And actually and we manually adding an edge loop across here. And in fact, See, I like the number of edges that we have around this opening. So I think what we might do instead is just add additional edge loops manually. Wherever it's needed. Let's play around with the vertices, vertices along this opening so that they're more evenly distributed. And with just a few nudges. That already looks a lot better than it did before. And you'll notice that from the front view here, this opening is very jagged. So fairly easy way to handle that is just zeroed out and one axis and then rotate it back to the angle that it was before. Next thing I wanna do is close these gaps. So let's start at the top. Extrude slightly, scaled down, slightly. Make sure that vertices along the center are aligned to 0 along the x axis. And let's extrude down without the magnet toppled on extreme down. Snap this to 0. And now we have nice color going on around the neck. Very nice, sturdy, protective color. One to extrude. Along the bottom here. And close up this opening. Like that. Same idea here. A little skill down a bit. And it's extruded in a bit. And then close it off with the brush tool. And then for these little triangles leftover at the end and use the fill tool. So that's gonna seal up that opening for the arm. Finally, you'll want to close up this ribcage opening using the same steps as before. Here we go. Now let's take a look at everything in context. Apply sheets, move, turn on, auto smooth here. And again, it's handled most of the edges the way I wanted it to. Not honor percent. I for example, I don't want these sharp. So I'll just bring this up until those are ironed out and I need to go in manually tell Blender where to apply those sharp edges. All right, and so I got X-ray view turn-on just to check that I didn't select any edges. I don't want by mistake, smart these sharp. And that's more or less how I wanted to look. I think we need to make a few adjustments here along the ridge ribcage opening so that the waste fits in better. All right. That's going to conclude the uprising of the torso for our sci-fi armor. 14. Lesson 13: Knee Caps: So our sci-fi armor is in pretty good shape. Now, at this stage, we can take some time to polish up the geometry that we have. And just before getting into that, Actually, I want to spend a couple minutes just adjusting the proportion proportions of the body and making sure the anatomy is correct. Like at the legs, for example. For later when we break the character and animate. Usually want to have a slight bend in the knee, as opposed to being straight up and down like this, so that the rig, the skeletal rig knows which way to bend the leg. That's just a very common sort of pro tip for modelling characters. So let's go ahead and make that adjustment real quick. I think we can just a few vertices in a certain, in a forward direction to get the effect that we need. Like so I know the differences are very subtle, but this is definitely something we want to be aware of. And from the front view here it looks like the legs are buckling slightly you so I want to address that. Okay. I like to lives a lot better already. I think the but is sticking out a bit much. So I'm going to bring that in little. Okay, that's looking much better. And our arms fine because it already has that slight bend around the elbow joint. And I think the bi's are bit bulky. So I'm going to tone down, okay. So now that we got that out of the way, pretty happy with the and body proportions and anatomy. Let's start thinking about detailing the geometry. Usually you let me fix that real quick. Okay. Back to the leg here. I want to add something around the knee at some kind of like a protected protective Ni cover. So for that, we can just grab some existing geometry, duplicated, move it forward, slightly, separate the geometry, and give it a thickness. Also, I want to fall down these sharp corners so I'm going to apply bevel to them. But first, before we do that, let's just shape this. Turn out proportionately listless shape this piece first, right? Something like that. Kay, now let's add the bevel. Clear with the auto smooth setting. Looks like just under 60 degrees. It puts the sharp edges where we want. It smooths out the rest. And let's get rid of these n guns by designating where the edges will be with the knife tool. And let's bring it back and make it part of this is this knee. Okay. So looking looking at it from afar, looks a bit small, so I'm going to stretch it out. So one to orient it so that it fits more naturally. Onto the knee. Actually, I do want to bevel this edge here. So I'm going to select the faces in the front and extrude scale down. Probably couldn't use the Bevel tool either. Waves the same, same result. Finally, I want to add an edge loop right along the middle. So we can make it nice and around along the top and bottom. With proportional editing on, I want to push out the top of it. And let's turn off proportion, editing, even out the edges. So it's nice and clean and we wanna make sure it's intersecting with this piece. Fits like this. You can see inside the knee cover such as bringing this as far back as we need to and a little more. And that's gonna do it. Or any cover. Looks like I just need to do some quick editing. Alright. Looking, looking all right. Do you want to lower this? And this is two squared my opinion. Want to elongate it. So to make room for that, I brought the lower leg piece down and then I can do this. Alright. Okay. That's gonna do it for the cover. But we still got a long way to go before we completely finalized the geometry. 15. Lesson 14: Refining Boots: Let's continue on with the legs. Going to add some more details that that's going to make the armor look way more interesting. Right now. Things are looking pretty plain. We want to add something here, just below the back of the knees. And just like we did with the knee covered. Instead of starting from scratch with the primitive, I'll just grab some existing piece of geometry and duplicated, separated and start working off of that. Okay, let's close off the top with the bridge tool. And now you see we have I don't even know what to call it, but something to break up. This singular continuous surface here. This to be at an angle. Follow along the direction of the legs. Alright, cool. And let's take a look at the feet here. There's gonna add kind of a random shape here. Again, it is the same idea of wanting to break up the monotony. Instead of this continuous straight loop around the bottom of the feet. There's a little break here at the back. Like that didn't work correctly. There we go. Mark sharp, unmarked or clear sharp, long there. Probably more. These edges sharp as well. And also most boots aren't completely flat. You'll have sort of a separation where the heel is. See. Actually, let me delete these faces here at actually bear true. This check that these are welded bridge. Now we have something that looks more like a boot. Let's close up this gap. And the geometry is looking kinda messy. So let's take a moment to do a bit of clean up. First of all, let's let's try and produce quads wherever we can. And generally you want your kids to be more or less rectangular shape. We want to avoid these weird trapezoidal shapes. And that way we can work towards a cleaner topology. And clean, clean topology is not only better for optimization if you're using this model for a game engine, but it's also great for deformation when animating. So I think the topology is much better now. And there's a crease here that I don't want to get rid of that. Okay? Which is moving things around a bit for even, even distribution vertices. Okay? And just like I did with the back of the feed armor here, I'm going to add a little detail along the front as well. Now let's weld this gap shut by snapping the vertices together and making sure that this auto merge vertices is on so that automatically welded. Like so. It's adjust some vertices. And we're going to need to clear sharp there and Mark sharp around here. See how that looks. So despite clearing, clearing the sharp edges there'd still, still sharp. So I'm going to see, actually that's not doing it. It might be that the vertices have an welded or there's some extra geometry in there that we don't want. And that's where that was coming from. Okay, cool. 16. Lesson 15: Refining Lower Legs: And look at this piece. The bottom here, the wages ends like that. Looks a bit boring to me. So we're going to do something with the bottom here. I think it would look cooler if we had it flaring out a bit. And the front. And the other thing, I want the, the edges along the bottom here to go this way instead of this way. And that's going to support this curve. So unhide. I also want to battle this tip here. Psi added an edge there to do something like that. Yeah, so as you can see, it's already starting to look a lot more interesting than what we had before is just the straight, just ended flat like that, the bottom. It's good to try and have a little more fun with your shapes. And if you're uncomfortable with just coming up with random shapes on the fly. That's okay. You can experiment, try a couple of things and see, see what works, what doesn't. And the more you do it, it's going to develop into a sixth sense. So let's see. And actually it's very polygonal. Here's I think would benefit from beveling all the vertical edges and actually doing them all at once. Let me just do sections at a time. Now we have a little more control. Let's hide everything else. In fact, let me delete the bottom faces here so we can start over something more clean. And, uh, will this actually, let's keep these and I want to create a rim around the bottom here, just like the front. Okay. Let's will these together. Let's resolve the GO here as it transitions from this end to the middle of the lower leg piece. There's a lot of Afghan's here that we don't want. Okay. That works out pretty nicely actually. Now let's close this off. After a little bit of tweaking. Let's close this off. I think it would make most sense to push it this way. So unselect those sides, bridge. And now it's sealed off. Let's also, you've gotta mark this edge loop sharp. And now let's make these edges sharp as well. Okay? See it in context. Look at that. That's pretty cool. I just need to make some minor adjustments. Like so. I don't like this sharp angle here. I want to smooth that out and do that simply by beveling this loop. Looking much cooler. With all those extra details we just put in. 17. Lesson 16: Refining Arms: K, We've come a long way in terms of the modelling phase of this art asset. Let's start to wrap up the geometry. And after that, we'll be able to move on to more textural needed work. So right off the bat, I'm noticing that the arms appear a little smaller than I think they're supposed to. And quick way to check that is to see how it looks when it's just hanging off the side, downwards like that. And to my eye, we do need to scale up the arms because the risks should extend further down to the bottom of the waste. This is just one of those things that you'll start noticing once you study some human and anatomy. And if you don't have the best grasp of anatomy just yet, then it'll be very helpful for you to grab some resources online or some image that'll display the correct anatomy. And you can use that as a reference as you model characters or character armor. So I'm gonna go ahead and grab all the vertices. I go into the arm and just scale it up and then place them in the correct spot. Now I think it's a bit too big. Scale it down again. And I'm pretty happy with that, but just as a final check. And we're going to bring it down to the side again and see how that looks. So looking much better than it did before. Let's try that. So now we're starting to see what I mentioned before about the wrist closer aligned to the bottom of the waste. And so I'm pretty happy with this. We're gonna go with this. Mysql it slightly down. And as you do it for us. If there's something wrong with our hand, yeah, at 1, I'll selecting only the vertices in the front. The way they get all the vertices front and behind, your selection is to have the x-ray mode turned on. So let's try that again. And just the position. Ok. So looking at the arms on, I'm looking at the hands and they do a pretty plain one to add just a few little details. And think, we can start with some existing geo that's already on the hand. And use that as a starting point or some kind of padding on the back of the hand. And easy way to straight. Now, the sort of uneven surface is to grab these vertices and scale them up and down to 0. So now we've got something nice and flat. You could probably get rid of these edges and then want to select the outer edges and extrude them. Now we have this sort of protective plating over the hand. And to give it the sense that it's kinda curving around the hand, we can push in this side of the face. Slightly. Oh, okay. Suggests the auto smooth setting. So it's not smooth all around. We want these hard edges around there. Yeah, something like that is going to do it. And I want to extrude this one more time. So it covers more of the back of that hand. Will something like that. 18. Lesson 17: Refining Chest: Let's turn our focus onto the torso. As this piece here could definitely use some more detail. Now I'm learning this whole like back plate armor down the back because this material around the the waste, you know, it's meant to be sort of a more flexible, rubbery material. Since whoever's wearing this, you can imagine them kind of bending over and bending along the waste forward. But they're probably not gonna do that as much backwards. So we can push the sort of hard protective armour further down the back without worrying too much about restricting this character's movement. At the end of the day. You can get away with things that don't make perfect sense in the real-world. But I think thinking about these things still help with the design as far as making it look functional. I like to let those things in form. Little design decisions. K. So I like the, the shape of the bottom of this chess piece. And I still want this to flare up like that. So the app even has more flexibility. Okay, I think that's enough. Vertex pushing for now. Let's actually add some details. So just scanning this model for, for opportunities to do just that. I think what I want to want to work on the shoulder area here for a moment. So I did have this opening here that It's kind of tucked under everything so it's hard to see. I want to bring it back out. Like so. And now we have something for the arm to go into, right? There's more of a transition between this chess piece and the arm. I wanted to maintain sharp edge or this edge loop. So I'm gonna mark sharp. I also want this opening to be tilted at an angle. It already is, but I want to really emphasize this angle here. Like so. Mainly because this arm's going to bend down this way more often then it's going to bend upwards the other direction. I also want to accentuate this color. So instead of this gradual slope up, I want to make this more, more steep and vertical. And of course, I don't think we've gone through and bumped up the resolution of this chess piece just yet since we're still able to see a lot of fascinating, especially around round. So the wood, the parts of it that are supposed to be around. So let's select these. Actually. Get rid of everything else. So we can work with this chess piece more easily. I want to select the surrounding edges around this opening and apply bevel as evenly as you can. And see, yeah, that's nice and round. Now will have to reapply the clear sharp. And let's clean up the geo by getting rid of these n guns. And sometimes it's just as simple as dragging these sort of floating vertices to a nearby vertices. He's seeing these. Actually, I'm thinking as about to pull out the night tool and sort of populate these faces with the appropriate edges. My thing be faster and easier if I just delete all those faces and use the brush tool. Yet, there you have it. And actually, let's clean up the topology here. Okay? I think we need to give the color the same treatment. So let's look all, all of these edges and apply a bevel. Spread them out. Actually let me de-select at those edges. Spread out the bubble. And then drag these, snap these floating vertices into the nearest edge. Little bit of clean up with the knife to designate sharp edges. And know when. It's easier to just delete some faces and start over. Find opportunities to combine vertices. All right, found a n gone here. Pretty simple fix. Okay, so we just went hand bumped up the resolution where where it's most needed, right? Because that's going to be very visible. This is going to be very visible. I think I might just let the bottom of this chess piece slide with the low poly. Fascinating. Because, you know, you're not gonna see this angle as often. So I think we can get away with that. Okay. I wanna do something right here in the front. But maybe we'll save that for the next lecture. 19. Lesson 18: Refining Chest Pt. 2: Let's get right into finishing off the torso. And looking at an opportunity to get rid of this sharp corner can do the same thing here. Actually. Remembered to resolve these vertices that have now produced en guns. This like that. Definitely need to add some edge loops this way. But first, less strain Street. Now, these vertices might be easier just to flatten them out in the y-axis. First. Ok, cool. Let's bevel the, this edge here. Something like that. Nice. I want to work on this shape here. I want to sit of caving in. I wanted to curve out. Little bit like that. I know in the previous lecture we spent some time modifying the lower rim of the chest armor. And think I'm going to pull this down even further. Like so. In this way, most of the back is very well protected. Can we just have a little bit of opening the abdomen for movement and flexibility? And I'm still not getting the kind of flare outward. Long live the sign here. So let me continue pulling the signs out there. Like this, much better. Okay. We can still see some fascinating here. So let's add an extra edge loop. Right here. And instead of using the edge tool, is going to make this big, messy loop around phases where we don't want it manually. Get it in there with the knife tool. And let's resolve the and gone here. Okay. Now, I create fun sort of detail. Right here's some kind of a button interface. I can just use these faces right along the front. String. These guys out. Strain this horizontally and then just extruded in scale down. Of course we want this continuous across the other side. So let's delete these extra faces and then see look this gap. Okay. And let's bevel up these corners like that. Get rid of these n guns. Always want to be mindful of what your top topology looks like. We want to keep it clean as much as possible. So let's go on the inside here with knife tool and tell exactly where these edges should be. So everything's Kwanza triangles. And now we have a nice little opening there and we can put all kinds of Button details inside, which we could probably just saved for the texturing part of this course. I don't think it would hurt to add some edges there. And then we can turn these larger faces. But then again, see when you look at it from the smooth shade view, you can see a little bit of unwanted crease there. So that the way to, one way to get rid of that and make this all smooth across is to distribute the triangles so that we don't have this tiny little triangle here right next to a large clade here. I think the easiest way to do that is to add an extra edge loop. Right along these phases. Let's take a moment to almost have an unwarranted selection somewhere. And not Oh yeah. We have a bunch of unwanted vertices selected for some reason, but I just want to pull out these new vertices we just added to continue this nice curved shape. Okay? Right, and back to this part here we can now distribute triangles like so. Let's see how that looks much better. We got rid of that harsh and get rid of those edges. And that's the same thing again, I wonder if it would help if we got rid of those edges. So it's all quads. And it's looking much better than before. It's not perfect, but it's definitely a way better. And then once, once we have texture applied, it'll be very hard to see. This slight smoothing artifact. 20. Lesson 19: Refining Chest Pt. 3: So let's leave grieve front as it is, and turn our focus to the backside. And try and think of what kind of interesting detail can we add here? But first, just like we did in the front, I'm noticing areas that could really use another edge loop across these sort of larger faces. And we can get rid of this edge because we want to maintain as many questions as possible. And then of course we'll have triangles where it makes sense to have them. Ok. So I think we're gonna do something similar to the back as we did the frame. You can select some faces here and then push it in to create little n. Then let's go for these edges, these faces. Actually. Just before we do that, I want to add edges along here to push these down. More even distribution. Okay? So I'm going to select these phases. Maybe even down to here, is the inset tool. Let's get rid of these faces. We want this to be continuous to the other side. Zeroed out in the x first, and then snap it to the middle. Let's grab these faces once again. And this time we're going to extrude it in. Wanna keep it about the same depth as this front part. And then of course, we need to delete these extra faces. And make sure it looks like there's a little bit of overlap. Let's make sure that this edge is sitting right along the center. So we'll snap it to the middle there. And there you have it. Let's call these guys out. Actually, we can leave those alone. Really, the last part that we need to resolve is the back of this chess piece. And I've decided, instead of having an indent here, I'm going to pull it out. Instead. Scale it down, like so. Move these edges over. And then I'll probably need to define some sharp edges because it's smoothing some edges that I don't want to be smooth. But just before that, let's apply a bevel to these corners or something like that. Snap these to the nearest vertex. Get rid of n guns. By this point, I'm sure you know the drill a little bit of vertex pushing for good measure. And then of course, the two to find the sharp edges will be by marking them sharp. And I believe that is going to do it. And of course, we're not worried about the head. We're only focusing on the armor. But of course, you can sculpt ahead separately on your own or even at a helmet instead. If you want to stick to hard surface modeling all the way through. 21. Lesson 20: Marking UV Seams: Before we hop onto substance painter, there's a couple of housekeeping items we need to take care of. First, I went ahead and renamed all the different meshes that make up this sci-fi armor. And another thing I wanna do is designate the edges that are going to be seams. So that when we bring it into substance painter, it can UV unwrap your meshes for you from scratch. But I find that you'll tend to get better results when you at least tell blender and in turn substance painter where the seams are and then it's going to unwrap the mesh much more intelligently. The, the seams that we put down in Blender That is going to be read by substance painter. So let's go through each of these different pieces and, and choose the edges that are, that are gonna make up the UV seems. Now one other thing I wanna note, you, you could combine all these meshes and export that as, as a one big mesh to subsidize painter. And the reason I want to keep everything separate for the painting process is so that when we bake things like ambient occlusion, it's not going to bake the ambient occlusion of of adjacent meshes that you potentially don't want. So just as a quick example, let's look at the shoulder here. Like if, if I set this all as one mesh deceptions painter and we bake the ambient occlusion. Then what you're gonna find is like a dark line here because it's baking the ambient from this chess piece onto the shoulder piece. And I want to avoid as much as that as possible so that when this character is animated and moving around, we don't see ambient occlusion baked into surfaces where it shouldn't be. All right, so with that said, we're going to go through and create those seams. The sky blue lines indicate which edges are sharp and that's gonna be kinda distracting while we're laying down the seam edges. So I'm gonna go into the overlay options here and turn off the, the sharp button. And that way, we'll just see the seams. So we're just gonna go around, Select. Oops. Select the edges where it's going to make sense to have scenes. Mark seem to then that'll be indicated by the red edges. And what's nice about having modeled this entire thing using the mirror modifier is we can save a lot of UV space just by unwrapping half the model. And then whatever texture applied to, to that UV space is going to be copied over to the other side. That means you can pack in more detailed, high-resolution textures into less space to cover more geometry. Now, there's gotta be more than one way to choose where, where to separate your UAVs. But generally, I tend to choose edges where edges that are going to reduce the amount of distortion in the UV layout. And you can get a sense for where it would be best to place UV. Seems. The more, the more models you create, the more more models you texture. And like for instance, here. When you have like a cylinder sort of shape, it's a good idea to choose one edge where as a seem to prevent it from turning into a loop. So you can flatten out into a strip rather. And finding a choose one edge all, all tend to pick the one that'll, that I think is going to be the least visible. So I just pick that edge at the top there. I think that's gonna do it for seems, I think just needs a few more maybe here and there. Now it's possible that I missed a spot. So a good way to check is to just go ahead and unwrap it in the UV Editing configuration. And you can see that it's turned out pretty nice. Actually. So this UV layout we're not going to use, we're going to allow subsidies painter to do the layout for us automatically. But this is a good sanity check method to see that you have all the seams that you need for, for these UV islands to unwrap properly. And actually, let me, let me do the action again. And then you see a tab here that gives you an option to change the margin. And that's just going to create more space in between the UV islands, which makes it easier to see that, uh, they're not attached anywhere. Okay. So that looks good for the chest. Unhide work our way to arm. Most of the time. It's going to be fairly obvious where seam lines, the UV seems should go. Again, when it comes to tube-like shapes. You need to choose one edge that's kind of tucked away somewhere where you don't know what normally see. In this case, it's going to be under the arm along the up and down the armpit. I think that's going to be enough seem edges for things to unwrap. So let's go ahead and check that real quick. So the other reason we're, we're, we're using substance painter to to handle the layout is Blender doesn't do UV unwrapping for organic shapes, as well as other packages. You can spend time to manipulate this to straight and not this strip. So it's more, less squiggly and more straight. Just generally what you want. It's easier to pack UV islands that way. But, you know, I think substance painter tends to be much smarter about straining these strips from organic shapes and packing the islands much tighter. I'm actually, you know, it's a fairly new feature and subsidies painter, but I'm very impressed by how well it works. So I'm happy to to use substances unwrapping feature a lot for production. Alright, so we're all set for the upper arms. Now our working our way down to the rest of the r. Let's check that real quick. On RAB. Looks good. For hands. I like to set the UAVs right along the sides and separate it into the backend and the palm so that we have to UV Allen's for the hands. Let's see how that looks. So just by looking at this, I can tell that I missed at edge because what's supposed to be to UV islands, the backend and the palm look like they're clumped together. So let me, let's see where we still need an edge. And looks like this is, that's here and here is where we are missing. Seems. Now if we unwrap that again, you can see it's separated now. But there's something wrong with the this p sub on top. Bo Scott. Extra faces, we don't need k One more time. Alright, good. That looks correct. The waste, actually, the waste is pretty straightforward. Doesn't need any seams. There we go. In fact, let's stay on this configurations that are going back and forth. And then just like before, we're going to go into the overlays Settings and turn off sharp so that we're not distracted by different color lines. And we can actually select the same edges that were marked sharp as our CME edges. And that's gonna give us that. Actually I think be good to choose an edge at the very bottom there. And that's going to allow this to this island is straighten out with less distortion. Like that. Is again pretty straightforward. Choose one edge along the side that's kinda tucked underneath somewhere where you can't see. Whoops. Select all the faces, unwrap. It looks good to me. Actually. This piece here needs a seam right there. So that instead of this ring we have, we want to turn that into a strip like so. That's it for the Nin our moving onto the shin. That looks good. You may have noticed that generally a lot of the edges that were designated sharp edges that work well for C meshes. Let's see how this looks. Okay. Yeah, this looks fine to me. Actually. I don't think we want this to be a loop like that. Needed choose maybe this this as here to turn this into a strip. Like that. Yeah. And that's everything. So now our entire mesh has appropriate seems. And this is going to help a substance painter a lot as far as generating a much cleaner UAVs. So with everything's selected, let's go back to the layout, the default layout. Everything selected and everything zeroed out. Under object apply all transforms that clears out, that zeros out. All of the position, rotation and scale. Modifications we may have made. Which is just good practice to clear your, your geometry of all this extraneous data. You want, you want this all to be 0000. And then for scale 1.1.1, k with everything select they've except for the Hex that's just a placeholder co-ed and exported out as an FBX. And then we'll start applying some textures in substance painter. 22. Lesson 21: Choosing Base Materials: K We are inside of set since painter, let's bring in our model. Find it in your wherever you save the FBX export. I'm going to set the resolution to 4K. And then you'll notice here under the import settings, you want this checkbox on for auto unwrap. And if you look at the options window, you'll see that next the scenes were only. This option is set to generate only missing data. So that's that's going to mean that it's going to use the seams that we have laid down in Blender. And it's gonna read all of that and use that for the auto unwrap operation. Now, the thing that we want suppose this painter to do is figure out how to lay out the UV islands. So really that as is. And go ahead and click OK. Give it a second to think. So here we have our model inside. And the first thing I'm gonna do is go to the texture set settings tab, scroll down a bit, and then we want to break down some maps. Changes to the same size as the document resolution. And you'll see on the left a list of all the maps that we're about to bake. And if you don't change anything by default, it is going to use the same mesh that we brought in a treated as the high polygon mesh that's gonna bake down all this, all these maps from. One thing I wanted to change the settings before I hit bake is under the ambient occlusion tab. I want to change the self occlusion option from always to only say mesh name. And this goes back to what I mentioned about not wanting to bake ambient occlusion. I'm on onto surfaces where we might potentially have movement from animation. And hence the reason why we kept all the different pieces of the armor separate. So change that to only same mesh name and hit bake. Give it a minute to think. And you can get a glimpse of how the UAVs are being laid out. And it's. Looking pretty, pretty uniform is as far as the textual density goes, just judging by the size of these checkerboard squares. Now we did set the bake setting to 4K, so it's totally normal for it to take a moment here. To finish rendering all the maps were not baking down a high-resolution geometry to a low resolution mesh. But there's still a lot of map information that we can generate from this, this low poly mesh. So now it's done. Let's take a quick look. It's not going to be immediately apparent. But I can see already there's some ambient occlusion baked in. And like I mentioned in the previous lecture, we managed to avoid baking ambient onto the shoulder joints here. Now if we press the hockey for the flat view, which is f x3, you can see it's laid out all of our UV islands nicely. And it combined the UAVs from all the different pieces of GO into one map. And that's because all the meshes in Blender shared, shared the same default material. So at this point, sometimes I like to take this mission back into blender with this UV layout, an information, and then kinda reorganize this, bring it back into substance painter and then start paying. But for our purposes, this is plenty good enough and we can move forward with this. It just depends on how will you, how, how well organize you want the UV light to be safe for different skin variations down the line. So let's go back into the normal 3d view and start laying down some base materials. So I want to look under Smart materials and just scroll down and see which ones might fit nicely. Looking for a dark grey metal material. Things that can be, that can be used for the chess piece here. So actually let's go ahead and. Let's go ahead and mask out the specific part of the armor where we want this material applied. And one of my favorite ways to do that is to use masking. I'll add a black mask by right-clicking on the layer with the material. Go over to the left toolbar and use polygon fill and switch it to mesh fill, juices, torso piece. And so right, it's, it's all pretty self-explanatory. The triangle fill chooses a triangle, the this one fills in a face. And if you want to grab the whole mesh, then you use a mesh fill mode, just like I did. Let's throw in some more materials. Maybe we could use this one. So that one looks all right, but let's keep on experimenting with other materials. That's taking a minute to see what this looks like in a different color. Interesting. Let's pick a few more and then we'll settle on one of these materials. This one could be good, actually does change the base color of this one. So you can see that smart materials tend to come in like a folder, bundle of other materials. And then once you open up that folder and scroll to the bottom, there's usually a base material that determines the overall color. So here we are. Yeah, it looks like this one is responsible for color. I want to change it to. Different color. Okay, this might work. Let's see how it looks when we mascot to more specific parts. I'm thinking mainly for, for the plates. And in fact, we can turn on a mirror and see how that looks. And we can always change this later. But let's let's move on and, and lay down some material for, for all the joints and connecting pieces. I think for that maybe we can use some kind of a fabric material. So let's give this a black mask and then select, Oops, select the specific parts that we wanted to cover. And we can go back to that original, the first steel material we laid down and choose some more objects to cover that with. And let's go ahead and change the color of the fabric material. Something darker. Like so. At this point, for any avid gamers out there, clear the, see the inspiration behind the suit design here at this point with the colors blocked in like this. So that's gonna do it for just quickly and very roughly setting down the materials. We can go ahead and delete all these other ones that we ended up not using. And again, it could always change later, but I like to go ahead and just cover all of the mesh at the start and then, and then start making changes afterwards. 23. Lesson 22: Choosing Base Materials Pt. 2: So last time we just filled in couple of materials to cover our cover up our armor. I'm going to begin by refining our masking for, for the three materials that we started with. Looking at the, the boot. Here, I think the soul could share the same material as, as the dark metal on the chest. So let me grab the Let's hide the other materials. I'm going to select the mask on the dark steel material and select the soul. And since it's connected to the rest of the field, let me see if I can't do selection more easily through the flat view. Or actually, if you use the UV chunk fill mode of the polygon filled tool, that could do the trick too, because I remember laying down seems separating the soul from the rest of the foot. And that way we can get our clean selection of just the soul. You can turn back on the other materials. And we see that the orange is overlapping the soul. So we need to do the same but opposite of d selecting from the orange metal mask. Now let's turn on the fabric material. Okay. Something else I wanted to do. I want to select parts of the chest armor to be covered with the orange metal. See. Ok. I'll just trying to see where along the edges. I want that separation between the orange Medal and the dark metal to be. So let's hide the other materials and start filling in. Okay. That looks pretty cool. I wanna de-select along the shoulders on the, on the top of the shoulders there though. So let's bring, so y is going to create white in the mask, which is going to reveal this material and then black is going to hide it. I usually don't find the need to use a grey in between white and black. I usually go all the way, 0 or one and the grayscale. Anyway, let's, whoops. So now we need to switch to polygon Phillips, I'm going to select faces one at a time. Could you use the mirror toggle on right here but just a handful of faces, so it's fine. See how that looks. Okay. One is select these front faces. Let's see how that looks. Okay. Let's see if I can de-select few faces from the back. End. I'm gonna change my mind about that. Think it looked better before. So we can leave it like so. Now to make this, the separation between these two materials more more visually apparent. I'm gonna see about bumping up the height of the orange material. And I'm looking to see if if the the the, there's an option here to do that. Although it's not really giving us the effect that I'm looking for. I can see if I can't control the height of the other metal material. Yeah, I'm not really. So it is affecting the height on the boundary between the two materials, but it's not really giving it the look that I want. And actually I think it might work as long as I keep these values produced small. Okay, so, yeah, bring it, bring this value to a slightly negative number, is going to make it look like the orange material is kind of popping out above this metal. And I wonder I wonder if it would be better if. I select these faces as well. Maybe that 12. Yeah, I think that's better. Rather than rather than ending it right here. Okay. So we've just spent a few minutes refining the mask of the initial materials that we laid down. Now, I'm pretty happy with the metal materials, but I think we need more variation with the fabric. Fabric material that joins these metal plates together. And I think we definitely need a different material for the hands. Because the, the fabric texture on the hands. I think it's 22 cores. We need to either scale up via the fabric or find something else. Will different for the hands. K. So it turns out the base color doesn't have an effect on the pattern scale. I think maybe this one will a bit. But there's some, there's some layering going on where this isn't the only layer creating the pattern. So I can continue looking for it by checking on and off the visibility toggle. And I just found the thing, I just found the other layer that's creating this pattern. So if you play with this scale on this, we can now create a finer pattern for the fabric material. And at this point, looks, looks much better on the hands. Is holding up alright. On all the other areas other than the hands though. Maybe we can duplicate this and save one of these for the hands and the other one for the rest of the fabric surfaces. So, so here let's just start over with the masking and polygon fill, mesh fill mode on the hands. Okay? And then for this guy, we need to deselect the hand, like so. And then undo the changes we made to scale up the fabric pattern. Actually, I don't remember what this one used to be. Away. That's the wrong line here. V0 is one and bring it down to something like that. So now this, this texture is more readable. Let's turn on both. Okay. I spotted a little mistake here. Need to deselect the bottom of the shoes for the orange metal material. And that concludes the masking refinement for for our different smart materials. At, from this point forward, we can shift our focus to adding details mainly on, on all these different armor plates. 24. Lesson 23: Hard Surface Details: The last time we finished off refining the mask for different materials, I think we're at a stage now where we can beginning, begin adding details. So first I want to start with the orange metal surfaces. And for that I'm going to create a new paint layer and see which one of these hard surface stamps we can use. So all this is built-in to substance painter. And there's a couple here and there that I made custom. So even if you don't have any custom, normal is there's, there's enough that ships with subsidies painter to to do what you need to. So we got the Paint Tool selected, and then you just scroll down here on the lower right to modify our paint tool. And we only want it to affect the normal channel. So with that out of the way, let's go through see which ones we want to use. So here's one of my custom normals. It's simple is modelling a high resolution mesh, baking it down onto a flat plane. And then saving that, saving that, that map into your into the same directory as where the rest of these maps are saved or just using this button here to import resources outside of Cephalus painter. Anyway, I have this selected. I want to make sure that the blurring is turned off. You can see I'm holding down control and moving my mouse up and down with the right mouse button held down. And that's going to control the blurring of the edge of this, this painful. But I want it to be completely opaque. Alright, so let's add some details along the thigh here at up. Before I start, I want to turn on symmetry so that whatever we apply to this size. Copy it to the other side. I wanna row of these, of the same sort of invent sheep. And I'm gonna hold down shift to automatically create a row that along, along this line. Now I think I might have set the spacing to too far apart. So let me adjust that. Let's see if that still too far apart. Okay. It's getting closer. Let me hope it's slightly back up again. Let's do something similar here. And then I'm rotating it by holding down Control and left mouse button. And you notice here for this particular parts of his stamp, the alpha masking is cutting off the corners. So I just need to disable this circle alpha. And then I'll have the full stamp. See, let me turn off symmetry. So I just have design. Okay, that'll work. See if there are any more opportunities. For details. Is I want to create a little bit of asymmetry around here. Another point of asymmetry there, k. And let's rename this the normal details. And then a new layer. I want to create some additional details. But instead of using these hard surface normal maps, I'll simply manipulate the height channel. Let's bring it to and actually all the way to negative one. And I want to bring back the circle alpha, which is called shape. Reduce the blurring, make it real small. And then this, this is a great way to create sort of these hard surface seems manually. Just, just paint it in by hand. And there's a bunch of places where we can draw these lines. Can start. We can start on the shin. Turn on symmetry. And I'm gonna hold down shift. To maintain a straight edges. This way you don't have to worry if your hands are super steady. Now, as I come around to the other side, it's looking like it's not quite lining up. That's okay. Just erase it and then connect the two ends. Like so. So that's a really quick, easy way to create additional details like one other way you could have done this is to model a high poly version of this mesh that has this detail. But that would have taken a lot of time. And then of course you have to break it down to a low poly version. You can kind of skip that whole process and just paint it in directly in painter. So I'm gonna do, do the same process, kind of all up and down this mesh. And that's going to help break up these large even surfaces. I think we can do a better job of connecting these two ends to look more smooth. Holding Shift and right mouse button to move the light around. Kinda dark right now I can pivot the light to shine on the parts that I'm working on. So it might seem a little tedious to be doing, to be adding all these lines manually. But I guess you could ask yourself, which, which way is easier for faster, you know, to model all this out. And high polygon mesh or just the painted in here. Think it's a lot easier to, to, to just paint it. And it's very easy to change and try different shapes. Whereas if you model out all these details in 3D and you kinda like zoom out and don't like it. It's a little harder to make adjustments. The tricky here, because we're in a really tight space, but gotta set the camera at the right angle. Notice how if you wanna do hers, you just shorten the length of the lines that you draw. And you can just have fun with this step with the process. Draw as many lines or as little as you want. Just kinda add these streamlines to taste. Now, at this point you probably get the idea. Feel free to skip ahead. Because it'll just be more of the same for a little while. But I did want to continue recording and have the entire process available to view. For those of you that really want to see every step-by-step. Knees are there to make a couple of attempts to correctly. So there's definitely no need to worry. If your seams don't line up at first. Race little bit, that doesn't. And then kinda start over from kid is gonna do for the arms, we can move back to the chest. Well, we can do something for the shooting. So let's compare with and without. It makes a big difference. 25. Lesson 24: Adding Weathering Effects: Let's see, let's move these layers underneath our materials and give them, actually we're going to we're going to copy them. Leave them above above our metal materials. Copy them. And move those copies beneath the metal layers. And then right-click add anchor point for each of them. So we're trying to set up here is these metal materials. They're smart materials that incorporate different map details and responds accordingly. So, so this, this metal, it's detecting where the sharp edges are an adding scratches and wear and tear along those specific spots. Now, currently it's not aware of all these lines that we just ruin. So adding an anchor point and then telling them about these anchor points, then it will recognize and incorporate these details into the smart material results. So let's open up the orange material folder. And I'm pretty sure the scratches layer is the one responsible for all this wear and tear. And just check by toggling the visibility button. And then inside the properties of this generator is going to be an option for micro details. Currently it's false. Let's switch both of them to true. And then scroll all the way to the bottom, we can designate those anchor points that we set up earlier. So normal details for the normal, micro normal and then the height details anchor point for the micro heights. The last step is to change the reference channel to normal. Makes sense for the micro normal and then for the height. That is two height. And now it should, should be adding this same edge where onto the normal details and the height details that we just painted in. As you can see. It's a bit subtle, but yeah, you can see it's definitely working now. And the reason why we have the copies of those height and normal layers. See if I turn off the ones on the top, then, then we lose the channel influence. But these have to be below the layers that are reading the anchor points. Because if we put it above, then you see this red mark here that's indicating that there's a connection that's been lost here, right? It only reads anchor points that are below this layer. So bring that back below and then turn these guys on. And that's how I'm adding hat part surface details within subsidies painter works. I will emit, you know, there's a lot of steps just as set, setup the smart materials to read the details that we just added. But as of now that's just how substance painter works. I guess you could call it a software quirk. Maybe in future updates though, create a streamline sort of quality of life improvements on that process. But for now, this is how you set it up. So I want to add another layer here. I'm going to add a fill layer, change the color to a dirty brown, and take away the shininess by bumping up the roughness slider. And essentially I'm going to use layered as. A dirt layer. Let's add a mask and a generator. Select the dirt generator. And what that's gonna do is add dirt in these little corners and crevices where dirt might naturally accumulate. Right now it's a bit too intense. Let's bring down the dirt level by playing with the slider. Because the default setting, it's, it's completely taken away almost the shine of the metal, but I want to maintain that shine and make sure the dirt is accumulating only in small areas. And actually, I don't really like this here. That's it's again, too much. Kind of bring it way down. And let's copy this and change the generator from the dirt to immune occlusion. And just like we did before, we want to use enable micro details and have this read the hard surface details that we added earlier. So it's the same slightly tedious process. You have to change all these settings. But once you get it working, then you're going to like the results. So it's, it's, it's creating and having the opposite effect, whatever I want, things are reversed, then that's an easy fix. Just go into the properties and switch on the global invert. And with this ambient occlusion, fill air, I wanted to fill in. These themes. See before. The same is the same shiny metal as the rest of the armor surface. And I want to fill that in with something dark to really create that separation. And actually made sense for me to set the dirt color to Brown, but for the seam lines, I think I'll bump it way down to something almost black. Let's play with the settings of it. Yeah, right right there in the middle. That's fine. And you can see how, how much better things look with our smart materials. Reading all the additional heart surface information correctly. 26. Lesson 25: Hard Surface Details Pt. 2: Let's try and wrap up the texture work for the farmer here. I think. We just need to spend a little more time adding a couple of more details and a little bit more more wear and tear and select spots manually. So far we've relied heavily on the smart materials to kinda automatically apply wear and tear. We could do a pass where we apply some of that by hand. So the first thing we can start with is this front panel here. Let's see. Actually we, we can, we can just select the normal details layer. And I want to use some of these hard surface o maps to add a bunch of buttons. So I want to adjust my brush settings to only affect a normal, normal channel. And then pick something out of the hard surface shelf that might be suitable for button detail? Yes, I am. I have something in mind. I'm not sure if any of these kind of fit it exactly. But we can just go ahead and start trying a few options. Could look like a button at one, not so much. Not so much. Well, this doesn't look like a button, but I think you could use it for these corners. At least. I think there's a work well for this piece in the front of the neck, this will work. This looks like a button. Let's turn off symmetry. Symmetry back on. Yeah, maybe these holes can be like cable ports. Yeah, I like this. It looks like a switch. And actually I want these to be so closely spaced together. We're going to apply the same stamp, but still a little more to the left. Now after, remember which one it was. Here it is. Right. That looks good to me. Let's do something here on the shin. It's pretty plain. We can fit. Some kind of details have been here. It looks kind of interesting. Toggle on the mirror and mirroring. We can do something similar but smaller in the back here. At this point I'm just finding any opportunity to kind of fill in these large flat MD surfaces. You don't need to go overboard. But after a few these extras stamps, it's gonna feel a little less sparse. Let's turn mirror back on. I'm generally picking shapes that all kind of fit into wherever I'm stamping. Like the one I just laid down now, it's kind of a narrow, elongated shape that kind of fits nicely into this strip of metal. Yeah, it looks like that might be enough. Maybe something on this. So let's leave it there. And you'll notice that the wear and tear that is being applied to the old normals that we already laid down is not present in the new normal details. And we just painted. And that's because we update, we updated this layer, but this copy with the anchor point still doesn't have the new normals that we just laid down. So Let's go ahead and copy this. Drag it down below the metal materials. Let's add anchor point to this. Delete this old one, and reconnect. Reconnect this middle edge where generator with this anchor point. Remember to switch the reference channel to normal. And then now the smart material is recognizing the new normal details. We just put down. Something pretty cool. Now let's switch our focus to the fabric. We've all, we've added all this detail to the armor pieces, but our fabric surfaces still remain fairly plain and lacking detail. Thing we can do something here, something more interesting in the abdomen area here. So I will, I think I can just continue working off the same normal detail layer again. And let's see if we can find another way to add some details to, to the waste here. See. For some reason, it's not applying the stamp. I'm not sure why. I mean, there it is. Oh, I see. The fabric materials are above everything. So I couldn't see it. Still there. Actually. Instead of accidently undoing what I want to keep all just go and manually and erase the stamp. And actually instead of working off of that layer, let us add another one on top and try again with the stamp. So I'm kind of just experimenting a little Decca work. Let's get rid of this alpha. So we have the entire stamp visible. Usually. We start big, up top, smaller and smaller and smaller. It's not working quite the way I thought. This is upside down. Actually. Let's try let's try a different Stan was jointly solve it out with this guy. Yeah, this one's I liked this one better. It's got more interesting shape that, that could work. You know, we can, we can keep that. Let's just erase this corner here where we don't want it. And I think we can also erase the edge. So it just kind of tapers off to the side. I missed a spot here. And while we're at it, let's get rid of this because it it kinda stops here and doesn't get resolved. So I think it's better if we just don't have that at all. I should have turned the symmetry on. Forgot. Not a big deal. Pretty easy to choose. Go in here and races again. Okay, that does it. So now we've added a lot of additional detail. We're really close to finishing, but we're not quite there yet. We're gonna do another sort of polish pass. And soon after that will be ready to export these textures and bring it back into blender or send it directly to unity. Whatever your target platform is. 27. Lesson 26: Hard Surface Details Pt. 3: There are parts of the orange metal surfaces where I wanted to colour in some more of this dark metal material. So let's go ahead and label this layer so we don't confuse what it is. It's algebraic, normal detail. And while we're at it, we can call this one a mean occlusion, AO for ambient occlusion. Call this dirt. This one's empty so you can get rid of that. Because at this point, you know, we're, we're starting to stack up a bunch of layers and good could be easy to lose track of what's what. Now I just noticed this red mark here indicating that something is disconnected. Let's see if we can reconnect this reference. And maybe we can start grouping different groups of layers. So this, this is going to be the fabric group is all these layers. And by the way, I'm, I'm pressing control G. You can also create a new folder by clicking this button and dragging all the layers onto that new folder. I'll name this metal group. So and that's much more organized. Right? So 12. Go back to some of these metal surfaces and pain in some more details. Just one effect, the height. So I'm switching off all the other channels for our toothbrush. And I'm gonna set this to 0.5. Maybe 75. Let's remember to turn on symmetry, so we don't have to do this twice on the other side. And I just want to paint in a little detail here along the shin. Okay. So I just paint it in the outline. I want to fill in the middle here. And let's do something similar again up here. And again over here. And how about right here as well? K Now. So these, these little panels that we just painted it in, I want those to be covered with this black metal material. Which means that I need to erase the parts of the mask on the orange material. So I've got the mask of this metal selected. And I got my brush set to black. And that's going to remove masking. Now, I was expecting to see this, but in fact, we're not going to see this show up because this material is not been applied to this hit armor plate. So let's just take care of the mask on the orange material first and then we'll deal with the dark metal material afterwards. So I have to essentially retrace all the steps. Oops. Retrace all the, all the painting that we just did and go over it. Thinks so. Now, obviously you prefer if we can just copy and paste these selections as you, as you might. If we're working with layers in Photoshop. Unfortunately, as far as I know. And as far as the, the current version of sustenance painter is concerned, as of this recording, there is no way to just select, make like a pixel selection of your, your paint layers. So yeah, unfortunately, it's just going to have to tough it out and do this manual masking the masking process. But it shouldn't be too bad because we're only doing a handful of spots. You noticed if you've accidently kind of gone over the edge and you want to re, add, add back orange. Along the border here. You just take the slider up to all the way to white. Kay, so that's going to do for that. Let's go back here. And because we're doing this all by hand, it may not be perfect. But it's going to be plenty good enough. Just like coloring within the lines. And see there's some there's a panel here in the back. I think this is the last one. In this case, the dark metal is showing up. Because it's already applied to this whole chess piece. So let's select the mask on the dark metal material and simply fill in here. And notice it's affecting sort of other parts of the armor. So let's see if we can't just do selectively the faces where we needed. Yeah. It looks like if if you dragged in select and it's going to select faces behind. So let's just click these faces one at a time. And here we don't want this to be affected, so I'm going to just manually, oops, the black manually races. So let's do the same here for the shin. Just select the faces that we need. And then go back and with a brush and tidy up around this specific area where we need the dark material. And there you have it. Definitely. Making a little more interesting, instead of having one continuous material, all of the noun, we've got some some more material complexity. These are armor plates. And of course, we want to update the height details with the anchor point. So let's delete that. Copy and paste, drag it below the metal layers. Add an anchor point, and go back to where there's this red indicator. And fix the broken reference here. 28. Lesson 27: Manual 3D Painting: All right, and let's add a new layer at the top of this metal group. And what I wanna do is switch on just the roughness, color and metallic on our paint brush tool. Bringing the color way down to something close to black. I want this to have almost no shine. And I want the metallic pulled away to 0. And what we're gonna do is fill in these gaps, fill it with black, like so. And then it's going to look more like a event. Now, I should have switched on the mirror tool so that we got the other side covered. And we're just gonna go around kind of filling things in. Same with the slots here. Down here to the feet. Up here. On indefinitely. In the fence in the back. We can leave the symmetry on up to here. Then for the rest of these slots will have it switched off. Okay. Next thing I wanna do is add some color to these buttons. So let's switch to, I don't know, maybe a red and color. This guy actually can slide the rough this slider to have a little bit of a, a shy because presumably this button is going to be made a plastic kind of spilled over on the edge there. So I'm going to clean it up with the eraser tool. And we could switch to a green color for this. This next button. Again, let's clean up the little bit of spill that we got there, the bottom. And maybe for that switch in the middle, we could switch to like a more neutral gray. A bit like that. Actually, that just looks metal. Let's try blue instead. Go. And let's change our Burst settings to something similar to what we had in the beginning to fill in these holes. So they look like holes. And actually let me add another layer beneath that. Just so just like in pain in the rim over these holes are so so this rim looks metallic, metal slider all the way up. Promptness somewhere in the middle. Right? And I am painting that underneath this yep. Sigh a pin that underneath the other, the, the first layer so that we can fill in the material or the area behind the holes. So let's call this the metal paint layer and this the color paint layer. And I'm gonna do the same thing. I want to color in this color, in this sort of ring. A metallic grey color. And then switch back to the color paint layer. Turned us to almost black, switch off metallic. And then that's going to be the right setting for the hole right there. Looks like RMB in inclusion has a missing reference. Let's reconnect. This. 29. Lesson 28: Adding Wrinkle Effects: So remember how we filled in all these vent holes with a black by I'm just noticing I forgot to do that the same for the arm the forearm here. And open up the metal folder, the middle group folder. And I believe this is the layer where I want to paint into just double-check by toggling the visibility. And I wanna set my paintbrush tool to have color and rough. Roughness influences. This going to be way up, is gonna be way dark. And we're going to fill in is ven slots. Let's remember to turn on Mirroring. And I'm also thinking, maybe let's make it so completely dark. Right? Because this is not like this fan is going any deeper than maybe half an inch. And I also thought we could potentially add just a few more details for the height map. And again, I need to choose channels that I want to influence. And I thought for this sort of control panel area, be good to continue this seam line all the way around the panel. And maybe back here. On the back vent panel here. We could At a sort of then around the events. Let me turn off Mirroring. Once you got the outline of the shape you want, you can make your brush bigger and fill in the rest. Something like that. Okay, and let's update the height details layer with the anchor point. Copy paste. Drag low metal materials, delete the old one, add anchor point, reconnect the loss reference. And I'm gonna do the same for the ambient occlusion. Reconnect this, set it up, right? And now you can see those details are, are being accounted for by the smart materials. Now let's add some details to the fabric surface. One neat little trick I like to use for adding fast wrinkles without having to actually sculpt them and bake it down. You can create a new paint layer. And let's see. We want that layer to only influence height. And the height button here. If you scroll down, you'll see crease, creases, soft. Try either these. And we should be seeing some, some sort of influence on the height map of the fabric surfaces. Z. Sorry. Oh, I see. So all right, so you need to add a fill layer, switch off everything except for the high channel, and click on the button here. You'll see a list of textures here. If you scroll down, look for increase or decrease, increases soft. And you can see as I push this slider up and down, it's influencing our materials. Once you bump up the frequency. Under noise parameters, you can begin to see its effect on our materials. Now, we only want it on the fabric surface. Definitely don't want it on the metal surface. So let's add a mask, a black mask. And then from there we can tell it where we want it to be applied specifically. So let's go through and the mirror toggle on. Select actually not the hands selects. These fabric surfaces. Think we missed a spot here. Okay. So you see that it looks really nice here behind the knees. And this is definitely where it makes sense for there to be. Wrinkles increases like that. This is looking pretty good for the elbows too. But I'm noticing that it's kind of going in the wrong direction for our shoulders and for the, the stomach area. So what I'm gonna do is actually select the polygon filled tool again. And I'm going to deselect these areas for the mask. Let's call this creases. One. We can copy and paste called this creases to. Let's start over with a black mask on that and then just select the stomach. Age older areas. Don't forget to bring the slider all the way up to white. And with this selected, wanted to go back into the noise parameters. For this creases heatmap, and switch the direction from horizontal to vertical. And that fixes are the orientation of the wrinkles on the shoulder. Still not sure about the stomach. Actually, we may need the main need a third layer just, just for the stomach because it's kind of this is kinda going, going at an angle. So let's go ahead and do do that. Take the stomach off of the mask. Copy paste, another creases layer, black mask. Select the stomach only. And then we should be able to change the rotation of just the stomach, wrinkles independently until we get something we like some some something like that. Looks all right. I'll set yep. And let's let's label these more specific to to where it's being applied. So this is shoulder increases during just leave that creases, call this or stomach girl. Waste creases. And then we can go in and modify the frequency again to better match the specific areas. So I think I might decrease the frequency for the stomach. Right, good. Because the creases here wouldn't be as strong essay the elbows and knees. Let's make some adjustments to the shoulder creases. Here. You can bump this down as well. Yeah. So the stomach has the least amount of creases and shoulders has a medium amount. And then it's these joints that has the sharpest creases would probably even bump up the frequency. A tad. Let's try and hit the random button next to seed. And that just creates different permutations of the sort of parametric properties. So I'm pretty happy with the way that looks. We're gonna do a quick before and after comparison. If we group all of these into the creases, detail, Andrea's toggle the visibility. That's a lot of realism. And what's nice is that we didn't have to sculpt all of these little, little folds. So that's a, that's a little trick that I like to use for for cloth and fabric. 30. Lesson 29: Final Tweaks: We're pretty much done with texture work. We're just going to add a couple more things to wrap it up. First off, I notice between the legs here we have dark spot from all the procedural ambient occlusion, dirt layers that we've added. So let's find those layers and maybe erase its effect on this area. So yeah, here, here, here's the ambient occlusion and dirt layers that are contributing to this dark spot. I think what I'll do is group these together. And then I can add a mask to that group. And Let's check our brush setting. Instead of erasing it completely. Let me set this to a dark grey or maybe a light grey. So it looks like dark gray would create too much contrasts with the rest of the armor. As far as the ambient occlusion and the dirt effect goes. So that's an improvement. And on top of everything, let's add and the other layer of fill layer on top of all the rest of the materials that we worked on. And I want to uses to give our armor like an overall weathered, dusty look. So it's going to be applied to the whole mesh. Let's give it a mask and generator. Choose mask editor. And here there's a ton of sliders. And settings you can play with. The one I'm most interested in is a world space normal. And what this does is apply apply this color, this this pain fill on whatever is whatever part of the mesh surface is facing outward. Almost as if I mean, this would be great for creating like us snow effect or dust effect. Or it looks like it kinda landed on top of your mesh. And it's a great way to give your art asset like a natural kind of weathered look. Because ten things when, when they sit out and collect dust for a long time, does tens together along the top make sense? So let's try and recreate that sort of look here. First. We don't want this white. Let's change it to dark brown. And already, before we've even changed, a whole lot of settings in the mask editor already looks very dusty, very weathered. But currently it's a bit too much. So let's scale it back by playing with these sliders. And you'll notice that the mask is kind of uniform. So in order to break it up a little bit less, use texture by clicking on this texture button on their image inputs. And here you'll find a number of grunge textures. Let's just pick any one, like maybe this one. And then back up here, play with the texture opacity. So now we have a little bit of randomization with the masking of this dust layer. Let's play with this scale. And just to see what's going on better, here we go. This is what I'm talking about. Now with the texture applied, we have the mask being broken up in, in a more sort of natural looking way. So that's working as intended. And you can also see that the dust is collecting generally on the top of our mesh, right? All these surfaces that are facing upward. Let's bring the color back to the dark brown. And let's compare before and after. So maybe here at everything looks little two, brand new and shiny. This gives it a look like it's spin, like this. Armors been in use for some time. Now let's see. I think the effect of this dust is a little too strong around these edges here. So let's continue refining the mask editor settings. And I'm going to guess that this is being controlled by this curvature slider here. Let's make adjustments to this. And by dialing this down, the dust accumulating on these edges is not as aggressive. Right? So now the effect is a lot more subtle and that's exactly what we want. Really with any of these procedural HDR, AMI inclusion or dust effects. Okay, so that's going to conclude the texturing portion of the sci-fi armor course. And from here, you see we want to make sure you save and you can export textures under File. Export textures. From here. Choose where you wanted saved, and choose output template. So if you're going to use this armor, say inside of a game engine like Unity, you would scroll down and select no unity universal render pipeline. Or if you're using the render pipeline, select this. If you're using Unreal, select this option. Really, depending on what your end goal is, where, where you want to set these textures, you select the correct output template and then just hit export. That's it. 31. Conclusion: Great job getting through the entire course. If you simply been watching the videos and haven't actually followed through the different steps with Blender open, with subsidies painter open. I highly encourage you to do so now, while the content is still fresh in your mind and refer back to the lectures where you're struggling. In summary, we went over how to block in a rough model with very low resolution primitives. Then we went through and added more resolution. We then went on create lots of different interesting shapes. Once we were happy with that, we moved on over to substance painter in blocked in some materials, making distinctions between metal armor plates and rubber joints. And then lastly, we added a bunch of surface detail using a couple of different techniques which has normal map stamps and drawing in our own hearts service details by manipulating the height map with paint tool. Now, once you do go through the steps yourself and, and that with your very own sci-fi Arbor model. Next steps you can pursue our creative background for the armor. Setup some lights and render it out. You can use that image for a portfolio piece. You could also create head to add on to the, the armor. Then you'll have a full character. They can either rig for animation or game projects. So hopefully after taking this course, you now feel more confident in creating your own heart surface, character alphabet. Thank you very much for taking this course. Good luck.