Blender: Create your own 3D game models. | David Jaasma | Skillshare

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Blender: Create your own 3D game models.

teacher avatar David Jaasma, 3D enthousiast and ofcourse teacher.

Watch this class and thousands more

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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

76 Lessons (9h 41m)
    • 1. Course Introduction

    • 2. 1.1 Introduction

    • 3. 1.2 3D pipeline

    • 4. 1.3 Reference material

    • 5. 1.4 Main shapes

    • 6. 1.5 Highpoly and lowpoly explanation

    • 7. 1.6 UV unwrapping

    • 8. 1.7 Baking

    • 9. 1.8 Texture maps

    • 10. 1.9 Import into game engine

    • 11. 2.1 Barrel: Reference images

    • 12. 2.2 Barrel: Blockout

    • 13. 2.3 Barrel: Blockout lid

    • 14. 2.4 Barrel: Highpoly

    • 15. 2.5 Barrel: Lowpoly

    • 16. 2.6 Barrel: UV Unwrapping

    • 17. 2.7 Barrel: Baking

    • 18. 2.8 Barrel: Materials

    • 19. 2.9 Barrel: Unity

    • 20. 3.1 Cardboard box: Introduction

    • 21. 3.2 Cardboard box: Modelling

    • 22. 3.3 Cardboard box: Modelling part 2

    • 23. 3.4 Cardboard box: Lowpoly

    • 24. 3.5 Cardboard box: UV unwrap

    • 25. 3.6 Cardboard box: Baking

    • 26. 3.7 Cardboard box: Base color

    • 27. 3.8 Cardboard box: Roughness

    • 28. 3.9 Cardboard box: Corrugated stripes

    • 29. 3.10 Cardboard box: Dirt

    • 30. 3.11 Cardboard box: Watermarks

    • 31. 3.12 Cardboard box: Decals

    • 32. 3.13 Cardboard box: Height detail

    • 33. 3.14 Cardboard box: Cardboard side

    • 34. 3.15 Cardboard box: Unity

    • 35. 4.1 Chair: Introduction

    • 36. 4.2 Chair: Shapes

    • 37. 4.3 Chair: Blockout frame

    • 38. 4.4 Chair: Wood backplate

    • 39. 4.5 Chair: Wood seat

    • 40. 4.6 Chair: Finish frame

    • 41. 4.7 Chair: Lowpoly

    • 42. 4.8 Chair: UV unwrap

    • 43. 4.9 Chair: Baking

    • 44. 4.10 Chair: Fixing model

    • 45. 4.11 Chair: Materials

    • 46. 5.1 Desk: Blockout

    • 47. 5.2 Desk: Highpoly

    • 48. 5.3 Desk: Highpoly part 2

    • 49. 5.4 Desk: Lowpoly

    • 50. 5.5 Desk: Lowpoly part 2

    • 51. 5.6 Desk: UV unwrapping

    • 52. 5.7 Desk: Materials

    • 53. 6.1 Concrete barrier: Important notes

    • 54. 6.2 Concrete barrier: Introduction

    • 55. 6.3 Concrete barrier: Blockout

    • 56. 6.4 Concrete barrier: Boolean

    • 57. 6.5 Concrete barrier: Sculpt ready

    • 58. 6.6 Concrete barrier: : Materialize

    • 59. 6.7 Concrete barrier: Sculpting

    • 60. 6.8 Concrete barrier: Lowpoly

    • 61. 6.9 Concrete barrier: UV unwrap

    • 62. 6.10 Concrete barrier: Rebars

    • 63. 6.11 Concrete barrier: Finish highpoly

    • 64. 6.12 Concrete barrier: Baking

    • 65. 6.13 Concrete barrier: Materials

    • 66. 6.14 Concrete barrier: Materials part2

    • 67. 7.1 Destroyed concrete barrier: Sculpt+frame

    • 68. 7.2 Destroyed concrete barrier: Highpoly rebar part2

    • 69. 7.3 Destroyed concrete barrier: Highpoly broken rebars

    • 70. 7.4 Destroyed concrete barrier: Lowpoly rebars

    • 71. 7.5 Destroyed concrete barrier: Lowpoly

    • 72. 7.6 Destroyed concrete barrier: UV+Export

    • 73. 7.7 Destroyed concrete barrier: Baking

    • 74. 7.8 Destroyed concrete barrier: Materials

    • 75. 8.1 Extra: Create a weld brush

    • 76. 8.2 Extra: Create your own decals

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About This Class

Everything you need to get started in ONE place.

This course will teach you everything that is important to start your journey as a 3D artist. All the crucial fundamental principles, tools, settings, and workflows are explained and you will learn a full pipeline to create simple yet beautiful 3D assets, step by step easy to understand.

Suitable for beginners.

With basic knowledge about 3D You can follow this course. This course will take you by the hand right from the start and will guide you through the dense 3D jungle. If you have some experience already, this course will help you to fill in the missing gaps and smoothly enter the new and exciting land of Blender 2.8.

High quality.

All videos are in Full HD 1080p / MP4 format with English audio.

Get help along the way.

We give our best to make each lesson as clear and understandable as possible. If it still happens, that you got stuck at any point, you can ask for help or share your work in progress in the discussion section under each lecture.

Meet Your Teacher

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David Jaasma

3D enthousiast and ofcourse teacher.


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1. Course Introduction: Games, games, games. If you want to create your own game or work in the gaming industry, you will have to be able to create 3D models. This desk might seem difficult, but we created a course which will Quickstart your 3D journey. And you will learn how to create 3D assets for games in a quick and efficient way. Creating 3D models in blender will become easy. Creating materials in substance painter will become fun. And at the end, you can use these models for your own game or portfolio. And you might even want to sell them online joy now and get instant access to the free updates which has just been released. 2. 1.1 Introduction: Welcome to the introduction. This course is, of course all about 3D models, right? We're gonna make a 3D game asset or prop. So what is a 3D model? Well, a 3D model is just an object in a specific software. In this case, it is Blender, which has three dimensions. An image or a picture will be a nice representations of 2D, which is a two-dimensions. You only have the x and the y axis. Well, and blend that we have X, Y, and Z. There are multiple ways to create a 3D model. And the one that is probably one of the oldest ones but is still used is just polygonal modeling. That is also what we're gonna do in the first few parts. And maybe later on we will also go to some sculpting. Digital sculpting. We can also do in blender. With digital sculpting, you Muslim time use a very dense object so you can sculpt inside the object. And then later on made from that very detailed object, a low poly, which is of course again polygon and Modeling. Either way we eventually have to use some of our polygon or modelling to create a low poly for games. 3. 1.2 3D pipeline: 3d pipeline is a word which might not ring a bell to you yet, but it is very simple. The treaty Pipeline is a step-by-step process to create a 3D model. A little real-world example would be the creation of a ring, some jewelry. First, you need to get it in materials and smelt them. Then a second, you will form them in some kind of shape. Maybe you hammer it, maybe you pull it through a certain device and as last, you need to polish it to give it a nice and shiny look. This process essentially called a pipeline. As you can see, the process that I just described is not totally accurate for every ring. Of course, I just made it up a little bit. What if the ring has diamonds? Diamonds, of course, needs to be set. So the same counts for our treaty pipeline. We might add or remove some of the steps in our pipeline. But overall, the pipeline is used for every 3D model that will be created. The treaty pipeline that I will show you Conference most of the aspects that you need to know to create a 3D model. Let's go over the steps that you will learn in this section of the course. One reference material to Maine or basic shapes tree will be the high poly for low poly, five, UV unwrapping, six, baking, seven, texture maps. And as last eight, will be importing into our game engine. Once you get to know these basics, what, how, and why we use these steps, then we can go on and create our 3D models. So in this section, it will be more of a theory kind. You can't really join too much yet. But as you get to know all of these steps, then we jump into blend there in our second section and start creating a 3D model with this pipeline in mind. I wish you guys good luck. And if there are any questions, just comment down below. 4. 1.3 Reference material: A reference for your model can be a real life objects or images and videos from YouTube. Or maybe you even see something in a magazine that will all work as reference material. The reference images, we'll show you how you can recreate the model that you might see. You can even combine multiple images and just pick and choose parts from those images and recreated with your own fishing. Almost every fish were artists uses reference images. And it is very important too. Pipeline. As humans, we might think that our memory is so good and that we don't need to look at images. But you will be surprised of how many mistakes I can see him Beginners from just not using any reference images. The reference material is used for 3D models, but also for texturing and even creating compelling scenes and lighting. I combined my images inside a program like Photoshop. Then I can just put a mixture of images which unlike on my second screen or even phone. And then I don't have to scroll every time to look through the next image. So let's actually go a bit more practical and I will show you how I do this. When looking for reference material. You can of course, just use a normal objects. Maybe from your home, maybe you see a bottle that you really like and you want to recreate it. That is a very smart way to do this. You can also get videos from YouTube. Maybe you want to look at Vimeo and images. I'd like pixels and of course Google. So let's say we searched for Google and researched on the table that you have lots of tables I just arrived, click Save As, and save them inside the same folder. My folder will look a little bit like this. Sometimes is a bit more messy, but this is kind of what we are looking for. And what I do, as you can see here, is I put all these images together inside Photoshop. This one is already put together as you can see, but yet you can just click and drag them in. So you have multiple images together. Why do I do this? This is because at the end, I just export this as an JPEG or a PNG. And now on my second screen, I have this up and I don't have to switch between images that don't have to do this. I can just look at one singular image and f, all the reference material that I need. But what am I looking for when I actually searched for certain reference images? Well, one thing is the shape. So you can see that we have loads of different shapes of cones here. And now it's up to me to search for something which I like. Do I want something like this? Or maybe I want a very simple cone? You can also look at the materials. So here we can see that if the new ones, you barely can see what the material really looks like. But if look at some older ones here, you can see where we have some damage and also where the dust or dirt will lay on top. Here. You can see that the third is for sure on top. So we can focus on that when we are actually texturing the model. So these are important parts you want the shape of your model. You can even combine certain parts if you want. And you want to look at how the material damages and what the texture actually looks like. Awesome. Now we can go on to the next part. 5. 1.4 Main shapes: Okay, so what do I do after I found my reference images? Well, right now you can see that I've put three of hair with totally different models. That is not normally how I do it. I will just keep on one, right? But what I do here is, is essentially the same as a, as you can see here. I tried to find out of watch what's shapes it is made out of. If you go into blender, you can see that if you click on shift a, you have a mesh. So we're adding a mesh. You have cube, UV, sphere, cylinder, cone, and Taurus. So if you go into Photoshop and I'm just stick a bright color here, we can throw on top of the reference images. So if you look at the shape of, let's say a lego block, you can very easily see that it is made out of a cube. Bam, bam, let's go back hair. Here. That is cube. And what is on top of this cube? We have multiple cylinders, right? Multiple of them. It's also finished this form. So those are ready primitive shapes which you can create very easily. If you go more into depth, you already can see that we have multiple of these cylindrical shapes. So we can essentially just aerate them and then mirrored onto the other side. But that's for later of course. So let's look at this model. We can see that we have a little bit more intricate shapes here. But normally I just like to keep it very simple and just do, you know, big shapes, basic shapes. So we have a cylindrical shape or conical, but, you know, the cones are a little bit hard to work with. That's why I use the cylinder, cylinder for most of these ones. And then underneath is like another cylinder. So a little bit bigger. And then underneath that we have, it's more of a square shapes with probably will be a squished together cube. Right? So if we have more of a cubical shape here underneath, and that does that. And then here is the same. We have like a cylindrical shape. And it's just a very like skilled down silane like big cylindrical shape for the stable. As you can see, I'm drawing with my mouse which is not the best. But that is this one on top. And then we have multiple of these stretched out cubicle shapes, which will just be cubes. And then here another cube which will join these together. So I really like to do this. It just makes, it makes it all a little bit simpler because you are your Ferrari easily get drowned into relax small details. So how am I going to make this? How I'm going to like, you know, these holes in here, I'm going to do this text on top. You should not think about that in the beginning at all. You should just think about big shapes and those small shapes will come later on. I personally call them like secondary shapes. And yet, so first just block out. And this is also called a block out by the way. So first you block out your 3D model. So if you're gonna make a traffic cone for instance, then you already know we need a cylindrical shape. Sleet is, we're gonna use a cylinder. I'm going to scale this part down. And then in the bottom, what did we have in a boredom? We had a cube which is scaled down. And you can always change these a little bit. But you can see that this is already a block out of a, a traffic cone. So I always do this. I think it's very handy and I think you guys should also do it. So yeah, do it. And I'll see you guys the next part. 6. 1.5 Highpoly and lowpoly explanation: Ok, so after the blackout, it's time for us to make the high poly. And let me show you a little bit what a high poly is. A high policy, essentially just the model or object that you're going to make with all the details on top. But essentially this is the high polio without the color, but all the details on top. But putting this in a game engine will just not happen. It has way too many vertices like this, d two on top. It's just, it's just way too much. It could be in the millions. That's safe. And we don't want that right. It's just not possible for live rendering. So we need to make a low poly and infra scroll a little bit down. You can see all these lines and those are essentially, that is the low poly, the ADS projected on top. But we can also look in the marmoset fewer. This is the marmoset fewer. And we can look in here, and this is the 3D model life rendered, so we can just look around it wherever we want. And here you can see all the detail isn't neither lighting and you can see the roughness and all that shebang. So that's really nice if you go and here we can actually look at the topology. So this is the low poly, right? And you can see that the low poly, he actually set it, low PolyGram phone is 4,385 triangles, right, with 2048 texture set. So what does this mean? The low poly consists of dismantle many triangles. And you can see all these triangles. They are like color black at this point. And the texture set is the textures which we can see here. And I'll explain more about that in the next part. But these are textures. We have a normal map if the albedo, the normal map is essentially very important. And that is a big reason why we need to make the HI polly first. Ok, so these are maps and those gets projected on top of the low poly. So that is essentially also how you get all this detail from the high poly. The low poly. We're going to bake everything with substance painter. You can also do them blender. You can do it in a lot of programs. But what we are essentially going to do is we're gonna put the hyperbole and the low poly model, both in the program. And then we're going to bake all the details from the HI polly on top of the low poly. And that will give us a normal map. As you can see, all the details are hair projected sea and is a yeah, we're looking map, but this is better than a black and white bump map, which I'm also gonna explain of course. But yeah, that is why one needs to have a high Pollyanna low poly. And let me also show you this one is probably also has a nice locally here for instance, you can also see all of this detail and here you can see the text and from knowledge prolly the text is not low poly, it's hyperbole. So let's look at there is no tax on here. As you can see, it's fairly simple, but all the details are baked on top of hair, so it looks amazing. So let's continue talking about the low poly. One important thing about making a low poly issue, you need to know a little bit about the polygon of budget, which essentially is how many of those trees or polygons you can put inside your object. So this totally depends on multiple things. A very important contributor will be the engine. So we know that we're gonna make games, so we need a certain engine and some engines can handle more polygons than other engines. The importance or the size of an object can also be very contributes into the polygon density. Is it a smaller object that's maybe not that much detail or is the very big object with a loads amount of detail? These all contribute to the polygon account. Also, do you have a box that has just closed all the time or can you even open the box? If the box is open, you of course, also need to model the planks inside. Okay, so let's look a little bit about what is a good low poly and what is not. So in this case, we have a high polygon object here. And you can see that it has a lot of polygons. And a correct low poly will be this one. You can see that our shape is still intact, especially the round shapes. And yeah, so that is a very important. If we look at this one here, we can see that we have some corners in here and we do not, we do not really want to see them in the game. This of course, also depends on the size of your object. Let's scroll a little bit further away. Now you can see that there's almost no difference between these two, right? So if you have smaller objects, then you can use a lower amount of polygons. Okay? So let's say we use this one. This one has 96, and this one has a 192. Then we saved almost like a 100 polygons of this, which is a lot. What to keep in mind here is keep the shape intact, ok, so you don't want to, we still want to see the nice shapes that we've made. So let's say here I have the frame of the gun, and this is the hypotenuse. So we have a nice, a nice smooth shape here, right? So this is the corner. If we look at a low poly, this corner is still there. And you will see that in this corner, I used a way more vertices then I used on this flat spaces. So the, in the flat places, you essentially do not need a lot of form because it is flat and that is why we don't use a lot of vertices there. And the next thing that I want to show is that if we look here at the bottom in our low poly, you can see that I have these buttons. And at this point that looks all good. If you look at here, you can see that there are actually do not have a cap at the end. Why? Because we will never see that pay. Let's place, right, we will never see them. So if you don't see anything, you can just delete it. And this already saved me two of these polygons. And this could go up to a lot of polygons by the way. So that is why if you can't see something, you do not have to model it, at least in the low poly. Maybe you want to do it in a high body, that's ok. You have a lot of freedom and HI polly, but a low poly, we do not need those vertices. So one of the lithium and that is kinda the basics of making a low poly and will, of course do that also in the course itself. But I wanted to give a little bit of substance to it. 7. 1.6 UV unwrapping: So now that you look at our model, you can see that the 3D model is still quite blend. We only have the geometry and we don't have any colors or textures on it. So how do we go from the 3D model to a fully textured model? Well, first you need to look at what textures are. Textures are essentially just 2D space maps. We have an x and a y axis, and that's it. But our 3D model is three axis. We have x, y, and z. So how do we project the maps onto the 3D model? And that is essentially what you're gonna do with UV unwrapping. So before we're going really into like Blender, I want to show you kind of a layman's term or how I like to show this to people. So let's say you have this Easter Bunny. A lot of you people might have already done it, but if you take all the foil off and like very neatly and then make it flat, you can see that we get an end result like this. And this is essentially what you're trying to do with UV unwrapping. Let me show you now a little bit of how it works with a cube. And here you can see the cube that is quite familiar. There are many of us. And what does essentially is, as you can see, that we are trying to unwrap r cube into a flat space area so we can put textures on it. Okay, so let's jump in Blender. And here we have r cubed, which we want the UV on rep. If you go here to the UV Editing tool, we can see that we have a nice workspace where we can UV edit our objects. So here we have r cube, and these are the UAVs with this main cube that movies are already done for you, Dinah. But let's mess up these user fees for seconds, just so we can jason ourselves. So very, very simple. Now you can see that it is wrong, but how do we know that it is wrong? Especially at the beginning, you don't really know evidence of wrong or right. And we can see this if we put a texture in here. So what I'm going to do is I will go to shading for a second. And I want to apply a texture on this cube. So I'm going to click on shift a to add, and I'm going to add an image texture. Now I'm putting the color into the base color and I want to make a new one, so create a new image. And instead of generated type blank, I want to generate a UV grid and click on okay. So you can see this is the UV grid and you might have seen it before in a patient that I showed you. And now we can go back to UV Editing. And if we go into the viewport shading, you can see that we have loads of stretching here. And this is what you don't want in your model. You do not want any of the stretching. You do not want stretching or overlapping textures, overlap and taxes we can also use to our advantage. But let's not focus on that right now. So here we have r cubed, which with wrong UV projections. So let's make our own movies. And going into edit mode. Top, go here at select and select the edges that we need. Now I'm going to click on contrary. And do mark seem? So here we can see these red seams coming up. If we select everything with a, we can see our uv. Uv is here, right? And if we click on you to unwrap, then we can see that a whole unwrapping changed. And now what you can see here is the part that we UV on rapt is this part here. And it gets projected very nicely. But if you look at the other parts, you can see that they get a lot of stretching. So we need to also UV on wrap those. Let's go further into edit mode. And then we're going to select these two edges, contrary, mark seem, and unwrap them. And I can see that there is no stretching here. No stretching here. And here the stretching starts again. So let's go for the last part and we're going to mark these edges contrary, mark seem, select everything you and unwrap. And here we can see the, the kind of across that we had before. And now you can see that the textures are projected on it very good, right? There has no stretching happening. And these cubes are all nice and square. So now you can essentially just put any texture on it and you know that that will not stretch. So one thing to keep in mind with making the seams right now we don't have a lot of options, of course, because it's just a little cube. But if you have a object which is a little bit more intricate, You want to hide those seems a little bit. So the shim parts will be most of time in very sharp edges. So right now we only have sharp edges. And there will also be at places where we can, where the focus isn't really on. So maybe in the back of something or maybe on top of the head where the hair will be, right? So the hare will go on top anyways and we cannot see the seam. We want to hide those seems a little bit. Those are essentially the basics of UV unwrapping. And now we can finally go onto creating textures and materials for our objects. 8. 1.7 Baking: Okay, let's go into Blender and I'll show you guys how to bake certain details on top of our cube. So here we have r cube. Let's name this cube and rename it cube. On the score low. We're going to duplicate this cube. And I'm going to call the second cube, cube on the score high. We need to do these low and high names. Then Substance painter knows, if it is a low ball, you are high poly. Now we're going to hide everything else except the high polling. And what I want to do is I'm going to give this some extra self-sufficient and then a multi-resolution and subdivide it two times. And shades move. So now we can sculpt them stuff on here. I'm just gonna do it very quick and very random. Here. This goes inwards and outwards. We can even play around with some clay strips. It doesn't really matter here, here. So let's say this is the high quality that we want. Now we can export both these. So we're going to select this hi Baldi File Export. And then we can FBX or OBJ. I'm gonna do FBX for right now. You have some options here. First thing I'm going to select selected objects that's going to be on. So now only your selection will be exported. Furthermore, I think this is okay, so we can export it. I have made a new folder called QPR bake. And now I want to save this. So I'm just gonna do cube high because this was the high one, export FBX. Now I'm going to select the low one and I'm going to export it as well. File Export FBX. And now here instead of high, we're gonna call it low export FBX. Now we can go into substance painter and we can open a new file, File menu. We can select our low poly, so cube low. And then we can just click on OK. So here we have r cube. Very cool. R cube is already UV on rats as you can see. And what we want to do is we want to bake all the details from the hi Baldi on top of this load Polly, If you scroll but lower here in texture sets settings, we have the options for bake mesh maps. You can click on hair and open our high poly cube. Hi, I'm gonna put the output size a little bit higher, just so we have a little bit more detail. And then bake material mesh maps. After it's done baking, you can see that all of our detail is now on top of a cube without adding extra geometry. This is still the same cube. You can see here in the corner that doesn't bake totally on top of here. This can have multiple reasons. Nice. Recent number one will be our topology of our low poly is not good enough for that corner. You should try to keep the forms the same. So if it's like really cut off here, tried to add some Azure geometry in the low poly. You can also go to bake mesh maps a, you can put this MX frontal or mixture a distance a little bit up. We're not gonna do that right now. This is just a little bit of an intro. And what this also does, we did not only bake our we did not only bake our normal map. We also baked all of these maps, as you can see, thickness, position, curvature, and with occlusion ID and we'll space normal map. So why do we need these? Well, for instance, let's look at curvature. I'm just gonna drop a material in here. Let's do a global pure. And now we have this cobalt material on top of here. If we go to layers, you can see that it's a very simple material. Let's say I want these corners to be a little bit more damaged at a fill layer and right-click to add a mask. So I'm just going to add a black mask. Now I'm going to right click on this black mask and are going to add a generator. So we have this generator. You can choose a love generators and I'm just gonna do metal edge where. So this is a generator from substance pain there itself. And what it does. If you scroll down, you can see that image inputs, it works 50 curvature, ambient occlusion position and world space normals. And you can see that because of our bake off, this detail will be on the sides where normally also a lot of scratches Ruth, like probably happened right on the sides with that. Those are parts at the stake out. So this is super, super handy to create some realistic details. And you can of course change this like the where level. But this is why we need some bakes to create all this amazing stuff. So I hope you guys learned a little bit of the basics of baking. And I see guys in the next part. 9. 1.8 Texture maps: So let's talk a little bit about the texture maps. Let's first look at the bottom right, the one with all the color. It's a diffuse map, can also be called albedo and sometimes it even has different names. But this map essentially just takes care of the color. It contains all the information of the texture. If we look on the left of the diffuse map, we can see a bump map. And a bump map doesn't get used a lot anymore. Normally we are going to use a normal map for this, but I've still wanna explain it. A bump map is essentially it fakes the height of your materials, so whites will be higher, black will be lower. And this way it kinda fakes the height in your textures. This does not require any extra geometry. Just one texture can already change the highs and lows, and I will show that later into blender. So now we come to the normal map, which is on the top-left. And normal map is kind of the same as the bump map. Only it has tripped colours. It has red, green, and blue. Most of them it shows like little bit purple of course. But this is more realistic than the bump map, so it's just a little upgrade, let's say. And now this is just we always use the normal map. I don't see a lot of bump maps anymore. We just are going to use the normal map. And we also have the displays with map. The displacement map is essentially the same as a bump map, but the difference is the displacement map you're using to really displays vertices or polygons. And this is very heavy on your computer because you're using more and more geometry to create the real displacements. And this is normally not used in any of the props. The specular map defines how strong the texture surface will shine. And now we're gonna go back to our roughness map. And this essentially represents how smooth or her Rafa surface is. There are more maps like metallic thickness map and it's strophic curvature. But let's just start with these and we can always expand on this. So I hope you guys learned a little bit about the textures. And I'll show you in blender or a little bit of what I do. Okay, so let's jump into Blender. First thing I'm gonna do is I'm going to lead this cube and add a plane. A plane is nice because it's to the n is essentially like if we look at, if we look at the fees, is essentially already done, right? So let's go to the shading and we're going to add some of these lectures that we have. So I'm going to create a new material and add an image texture. Color goes into the base color and we're going to open the diffuse. So now we have a color. There's is the diffuse color. Very, very cool. Let me put this lamp a little bit lower. Yes. And and if we go into this render shading, we can see that it looks quite cool, but it still looks very bland. We only have the color. So let's add our specular map. So I'm going to duplicate this, move it down, and color goes into the specular. And we're going to open our metal plates specular. And here we can see that we have already some of these reflections that we needed. They are still not great. And that is because we also need to have our roughness mapping here. Because the specular and the roughness they work hand in hand, they were very good together. That's at our roughness multiplied roughness. And here we can see some really, really nice reflections, which is great, right? And it still doesn't look, it's still very flat. We do not have any depth in hair. And a way to do this in gay models do not add too many new geometry. We can add a normal map. So I am going to add a new image texture. In blender, you know, also needs to add a normal map node in-between here, because it can go from the caller to the normal. Normal. And now we can open our normal map, which will be hair mother played normal. And I know that I need to change the scholar space to non-color data. And now we have some really, really realistic materials in here. So you can see that if you look from a little bit further away, it looks, Yeah, you can assay all this depth. But if you look very close, you can kinda see that it's not really there, but it's hard to see because the math just works really well. And that is why we use this normal map, recreate like we fake our depth in here, our height map without adding extra geometry. I can keep talking about Texas for a long time, but I think it's the best for us to just go onto the next part and then we can start creating our 3D model. 10. 1.9 Import into game engine: Okay, so I've changed this material little bits. It's just food with a little bit of edge where that's it. And right now we want to import it into Unity, right? So we first need to export these textures. So File Export textures. And then we can go to configuration and we can choose to wherever we want to export it. Then I'm going to do unit three and then you can do metallic specular. Let's do metallic for right now. And then. So it's Unity five standards with that. Like if you have to find that also here, config Unity five Stan metallic. The only way why you go to configuration is to see whatever you export. You don't have to click it here and then go to export. Its, its just to see what is in there. So, okay, we have that. Now we can export it, and it will export to this little section here. And I don't want it to export there. I wanted to export in the map that we've made. So I'm going, there is going to create a new folder with textures and pop it in here, exports. And we can open the folder if you want. And we can see our exported textures. Very, very cool. And what we want to do now is we want to open a unity here. And to be honest, I am not really proficient with Unity. I like. This is literally the second time I use it. Most of the time I import everything into another program, but that's totally fine. First thing you do is you probably want to create some new folders. So here folder and there's going to be our models. And another one is going to be our textures. So in our models, we're going to do our cube low and we don't need the high again because we've baked all the textures. And then in the textures we can put all the textures that we just made a hair in our textures. We have these three textures. Very cool. Just takes a little while. Then we're gonna go into models. We can just slide it in here and go to this vector. I'm going to add my texture so you can just slide them up. And if you put it down, you can see where they end up. So this the albedo with this one. But you can see that they all will go into the albedo. So what you need to do is you can click on this little circle here. And then you can select your texture for the albedo with literary just one r cube. This albedo. And maybe we can even slide it through here. So this one goes in here. And then our normal goes and the normal map. So here we have imported our 3D model into Unity and that's it. So that is kind of how are we gonna do this? We're going to start off, and I'm really excited to just start off making a model. We're going to start quite simply just like this one. Very simple. And then we build up to a little bit more difficult. So hope you guys are excited this IM, and I'll see you guys in the next part. 11. 2.1 Barrel: Reference images: Okay, so this is going to be our first 3D prop, right? Our first game asset or whatever you can call up. And what we're going to do is just come through every step, which I've talked about in the section before. And that is creating a folder full of our reference images. And I did just save a lot of these images which I like and compile them together in a folder. So I do like this one. Say if S and I want you to do is we're gonna create a whole new folder. I'll call it barrel. And then you can just save it in there and we're gonna do more of them. So try to focus on the real ones, not really the 3D ones. Maybe if you go to our station, you can look at some of the props that people made. So is look for barrel and you also have the option for subject matter. You can go to props, it can even do media to digital 3D. So the nice thing about this is that there are real pros doing all the stuff, right? So US beginner, really want to figure out what the pros are doing. But if you take, if you only take references from images that are already like taken from this, you cannot get the same as you tell a secret in someone's ear. And someone else is gonna take della secrets in someone else's air. And at the end you will see that it's wrongly translated, right? And the same happens here if you just keep doing everything from 3D. Lets say we are modelling from here. I can already see some mistakes that I purposely don't want. And yeah, so keep that in mind. So tried to do some realistic like from real stuff. And so we're gonna take a few more. And as you can see here, the sides have these folds. What these folds do is essentially they prevent the amount of pressure that's gonna build up inside because the outside moves a bit with the liquid or whatever is inside, liquids changes a lot, and it also depends of the liquid. But let's say water, water expands when it becomes eyes, so they should be careful with that. And this image shows us some rusts. Rust will build up, and this is good for our materials. So I'm also going to save that. Maybe not an old one. Yeah. These homeschool. And notice it's a beer company, but it's actually a real barrel. Like, I really like the way that we can see certain firm forms from here. And here we have all our pictures are our reference images. So we also say, and what we can do with these, we can put them into Photoshop. If you guys don't have Photoshop, I can. Of course. Thank you. The image where we've about everything together. So here's our Photoshop file, and we can literally just throw these in. So let's first look at this one. A little bit bigger. I really like the form this also these gaps. I do like a lot. So we might want to focus really on this one. I think this one is essentially the same. Yeah, the form is exactly the same. So this is a better image, so we're going to focus on this one. And then of course this needs to be on top right. But we can see all the shapes in here fairly easily. And here I want to focus on this. So I'm just going to duplicate it. And also on this back part. So having them both is very nice and you can scale them up. It's a bit hard to see, but I think we can get some knowledge from it. I think they are essentially the same, just the sizes adhere those caps on top. And then after this, we of course need some materials. So I think I do like some of these rusty ones, right? I don't need the bullet holes in there, of course. And here you can see where it probable wear off first. Alright, first of these points here on top, if it standing outside. And yes, some of the rust colours we can also see here what happens, right? So I do like this one and I'll just get rid of this topic. We need to restaurants than layer. And I'll just focus on all of these other ones. So I might make this a little bit bigger like this. And then this last, I'll also drag this one in here is a very small image. And I really do like these here on top, but also how this oil is going off of here. But I'll just keep that in mind. I've just got to take these two here on top and place it and focus on them. So then I can essentially just delete this one here and reposition these images. So let's just keep it at this for right now I'm going to save it, save S just too as a JPEG or a PNG barrel combined. Okay, so the next part we're going to look at which forms you have to take care of. And then we're gonna create our high poly. 12. 2.2 Barrel: Blockout: Okay, it's time to create a 3D model. And we already looked up a lot of reference images, right? And the thing that we came up with is this. And we're going to focus on this shape that we have here. First thing that we need to do is we need to know a little bit about the shape of this model. And if we look here, I already made a very nice drawing, as you can see. But what can you see here? What shape is this? Well, it's very, very simple. If I just hide this, you can see that it's literally just a cylinder. So if we add a cylindrical shape, so we go in the blender, I'm going to delete the main QB and add a cylinder. We can see that, yeah, this is the shape that we want, but is the shape the same size? So so is the length and the diameter of this barrel the same as in Blender? Not so we need to change this. So I'm just going to skilled around the z-axis skills at. So I think something like this will be great. And this is essentially our main shape. There's one thing that I do not really like, and that is, are these angles here. Remember, we do 14 or three vertices per phase. We do not want these big N guns with more than four vertices on one face, it just doesn't make sense. So we're gonna delete those. And we want to create this detail on the sides. We can already go essentially to the lit, but let's create this DDL inside first. Well, there's one thing that I want to show you and that is that essentially this here on top is the same as on the bottom, so it's mirrored. And what we can do a blender, We can also mirror objects. They mirror or Rounds our origin. So if you look at this little orange thingy here, this orange dot, that is the origin of this model. And it is perfectly in the middle right now. So we only have to go on top contour are to create an edge loop, click and then delete this bottom part. So now we have half. And if we go here into the modifiers, we can add a mirror and mirror it around the Z axis, right? So now whatever we do here on top will happen in the bottom because it's just mirrored. Very, very cool. I also want to put the clipping on. If I don't put it on, you can see that it just slips through each other. And if I do not do it, like if I fingered on, then you can see that I can't do that anymore. They're nice together. So the next shapes that we need to make are these little indents in here. I would not know how to call them. Let's call them folds for right now, they're not really faults, but yet how we create them is we're going to create two edge loops. So I'm gonna create one. Right now. Let's go a bit closer together. And then create another attribute in the middle. And we're going to scale this edge look down. And you can see that we have this nice little corner fold in there, right. But can we create them all a little bit at the same time? Like they have the same length, same depth. Well, that is of course possible, but we gotta keep one thing in mind. And that is that we can just create a lot of edge loops. And let me show you bought the extra apps go all the way through. And what we can see here is that the edge loops only starts from a certain point from here to start. And then they end around here, right? So we need to create already two edge loops around these points. So keep this pops into mind. And then also this one. Ok, so we're going to create two edge loops there. One is going to be around here, and one is going to be around here. So those are these two edge loops. What can we do now? Now it's time for us to look at how many of these indentations we have. Well, we have 1234 of these corners at the Go out. So those will be for-each loops. So if you go in here and then control are and then just scroll up four times and we have four edge loops here. Now it's down to just create an edge loop in between all of them. We could have also done aid, but now you glow a little bit about how I go about these things. Now you select every other one, keep the outer ones non-selective, then just scale them a bit inwards. They'll go too overboard of this a little bit, is enough. Very, very cool. So how do we create this nice sharp edges, right? Let's focus first on that. And then we're going to this and lower one because that's a little bit different as you can see, the sharp edges we can create with some bevels. But we also don't have enough of geometry to actually make this looks smooth because you can see is quite blocky still. So we're going to add a bevel modifier and a sufficient surface. But yeah, as you can see right now, it goes all over the place. Let's hide the subdivision surface for a second. If you just click on those little real-time render thing, then we hide the self deficient surface and we are only working with the other two modifiers. So this bevel modifier. Let's look what it does right now. If I turn it off and on, you can see that that will baffle literally every single edge that there is. And we don't really want that. We only want them to work in a certain place. So you can do this in multiple ways. But what I like to do in this case is use the weight. And what await essentially does is you have to assign a weight to certain edges or vertices. And those will be taken into account. And they're, a bevel will be generated. So if I go in here and I'm going to select with my edge length, this, all of these edge loops. Here. Then go into item and go to edges data. And here you can see mean bevel weight, right? So for the edges, because we're doing edges right now not vertices, edge data mean bevel weight is going all the way to one. And here you'll be able to see a huge difference. And that is that only geometry will be created at those points. So if I go into via frame, you can see that some geometry is being generated, but the width is just way too wide. So if I put this Width down, you will see that our geometry, we will get changed, right? So we're going to put this quite close and maybe even put two segments instead of mn. And here we have these nice shapes. It is still sharp here as you can see. But that is just because we did not apply. That's just because we did. But that's just because we did not unhide ourself deficient surface. So we can go up in a subdivision surface. And even shades move with w, w shades move. And here we have all of these nice shapes. So yeah, you can still change this width if you would like to, or even the segments. But the weight is set to the right points at this point. Let's go on and look at this, a rather different parts, which is essentially this lower one. It takes a bit more out. And I also feel like it is not as sharp as these edges. So we're going to change the bevel from this one and also moved a little bit more out. Let's move a little bit more out first. So go into edit, select this whole edge loop and just the scaled a bit up. Awesome. So now we see a difference. And I want to move this out, but I do not want the sharp edge. So what I want to do is I want to create my own Bevel, and how am I going to do that? Well, I'm first going to get rid of our bevel weight. So I select this whole edge loop and then put this bevel weights to 0. And you can see that the bevel is, is totally gone. And now I'm going to create my own bevels. So if it's still selected, you can just click on Control B. And you can slides a little bit up. And you can just move your cursor and you can see that this changes are bevel. I'm going to scroll a little bit up. And that will create another edge loop in the middle. And then I think around here would look good. And then just click and then it will be applied. Very, very cool. So you can see that this, Yeah, it's quite easy to create this. And we can always just skill this a bit more down if you want. Or even skill of these edges that go in a little bit up. And yeah, it's very applied all of this stuff. So yeah, I really, really like that. And I think this is a great point to save this because we do not want to lose any of our progress. So save this. And then in the next part we are going on and make the lid on top and on the bottom. I see you guys there. 13. 2.3 Barrel: Blockout lid: Okay, so let's create the bottom and the top lid on this. And let me go in here and show you again. So here we have our bottom on a tablet. They're probably different from each other. But let's first just create the main shape of them. And you can kind of see it here. It's quite an easy shape. So we're literally just gonna extra this scale up. Actually would again scale around the z-axis. Xcode again, skill down. Actually, again, secure around the z axis. And then just extra roots. And then I'm going to click on, right-click just so it snaps back out and do at sander. So this is kind of how I create this lid. It looks quite good, but in some parts it's a little bit to smooth. So what I'd like to do in those cases is just create some extra edge loops to kidnap them this smoothness down, and yet that's essentially it. So also here I would like it to be little bit more sharp. Awesome. And then here you can choose for yourself whenever you like to do on top. So very, very cool. This is quite easy as well, right? There is a big difference though, between the top and the bottom is we go back, you can see that we made two different images here. And that is that we have yet this here. So not only do we have a LED with a hexagon local shape on the Neith. But we also have, it's a bit better to see here we have like a, I already drew here. It's like a circle. And then it dips a bit in. And then there is another circular shape. And then it goes to our hexagon level shape. We need to make those, of course. And let's first just get this hexagon local shape and this led down. And then we are going into matching them together with this lit that we have the doublet. So let's first create our hexagon local shape. The way that I like to do it is just create a circle and then change the vertices down here to eight, which is a hexagon shape, right? Awesome. And now you can choose a boredom and adult. Want to scale this a bit down and just moving it. Here. There's one thing though, and that is, if you look at the image, you can see that our flat Barth is here. And with us are flat Barth is not here, right? We have this pointy bit. So how do we rotate this in the right way? You can rotate it right this, but it will not be like perfect, right? So what I personally like to do, and I will show you in a calculator. We know that if we rotate something we have 360 degrees in a circle is 360 degrees. We also know the amount of furnaces that we have. We have eight. 12345678. And if you want half of the eight, then essentially we need to do 16. So we just got to double it again. So 360 divided by eight is 45, but we need to have it. So we're going to divide that by two because it's 22.55. So if we rotate this around the z axis, so I'm just clicking rotate z and m 2.52. Just do it on the on your NUM pad and then click Enter. Then we have rotated this for year 22.5. You can also do it here to 2.5, C, the same. Yeah, awesome. So now just go into edit mode x through this a little bit up. And here we have our hexagonal shape. Very, very cool. I'm also, I also want to kind of fill this together. So I'm going to click on Extrude. Click on the right-click which just snaps the BEC all m And do at center. So here we have at nasa matched. I'm gonna move this a bit down TO around hair. And yeah, awesome. So let's say we want to make this cap also instantly on top, which is essentially just a cylinder, right? And what I want to do is I don't want to go through the hassle to move with perfectly on top. Because I know that this vertices or this origin even it's perfectly in the middle. And so if I select our hexagonal shape, click on shift s. We can do cursor to select it. And now if we add our cylinder, it will be in the middle of this object. We just have to scale it a bit down. And that is essentially if then yeah, just let's look at the size we need. I'll go somewhere like here. I also think this is a bit too big, so I'm gonna make it a bit smaller, and that is essentially it. So what's the difference between this one and the small the smaller thing? This one and the smaller one is that the little lid on top is a bit bigger. So what I want to do is I'm going to duplicate this and move it over here. Skills a little bit down. And then just scale this around the z axis and little bit. And that is essentially it. Make sure it's still in the bottom. In the next part, we're going to merge all of this a bit together. And I will see you guys there. 14. 2.4 Barrel: Highpoly: Okay, so it's time for us to match our top lid up, right? And what I want to do is I first want to apply the mirror modifier because we are going to only work on doublet and the bottom one is essentially good the way it is, right? So if apply it, we can literally only work on here and nothing would change on the bottom. Awesome. The thing is, I want to delete this vertices here. And right now it is very busy this scene. So I'm going to click on one to go to move to my front view, go into wireframe, just select all of these vertices and then click on H to hide them off. And now it's just a little bit more serene and a little bit more yoga or whatever. And I actually want to hide off a little bit more. So I select this whole edge loop with all select and then plus, plus, I click on H, so we don't make any mistakes. And this seems to be okay. So what I want to do here is I want to join these camps together with our lid. And why do I want to do that? Well, that's because if we look here, they are essentially because of the pain that it's almost like one model. And we're first going to create the circles. But also the circles will be joined together with this hexagonal shape. So let's first just create those circles. Remember what we did before when we select our hexagon shape, you can do Shift S and Kirsten selected and then add a circle. Eight vertices is not enough. I'm going to do 16. And then just scale it down. And here we have to look back at our references again to see how big this circle should be. So in the smaller one is quite big. Scale this up a little bit more. Now we need to do the same here. Shift S, Crystal selected, we're going to add a circle. It's 16 vertices and it should be. Let's look at this reference again. With smaller summing around the hair. We can always change the still. But yeah, let's give it up this for right now. So we want to join all of this together, right? I'm going to hide these lids for right now and just focus on the hexagon local shapes and our barrel. So I'm selecting these hexagon local shapes and our circles, then our barrel and legal guns will J. Now they're merged altogether. You can also see that the hexagon local shapes are totally different because they all get solidified it. Let's hide the SAP deficient surface for right now again and go into DOM. So one thing that we want to do is we want the G9 that add everything to get it right. But If we add them together now, there will be some, there'll be some high differences which we do not want yet. So I'm going to select all of these bottom vertices. And also the bottom of the barrel. The lid. Then click on skill set is 0. And this will scale everything down at the same length. So skill z 0, and then click on enter. So now everything is at the same height. Now what I want to do is I want to fill this up. So I'm going to select, we can do it if the edges stack this edge, then this edge click on f. If you click on just a corner when you're ready, like filleds, Lambda already has like a face next to it, and it has the ability to create another quad. Then you can just click on F, F, F, F, F, F, C. And also here. Very cool. We can kind of do the same here. So f, f, f, f, very goal. And what we're going to do here is we're just going to match these up as well and make sure you do the right ones. This one, this one. So just to for here, we're going to fill this, these ones up one more. And now we of course also wants to fill this hole up. So if we are going to look here, let's look at our furnaces right now. We can see that we have 123 vertices that need to be filled up on both sides. So if it's very simple, we can just do control our scroll this up three times. And now we have three extra vertices here. So the only thing you have to do is expand this. Very easy. And also here, expand this. So we can see some weird shading artifacts. It can have multiple reasons. Probably it is because of the normals. If you go here and do face orientation, you can see that we have blue and a red faces. The blue phase are essentially normals at our border to watch you read phase are born and like the other way around. So we need to fix that. And when you go here into mesh normals and then recalculate outside. So now everything will be blue except you can see some rapids here, but that's because we're looking inside the barrel. Ok, very, very cool. And the next part is we need to do is we're going to extrude this circle, scaled a bit down. Then it's going to be moved to the bottom right, g set, because it dips in a little bit, as you can see here, dips in. So let's do that. And eventually it will then match up with this hexagonal shape, what we are going to look at it later, we're just gonna do the same here. X2 skill that you want to select these inner circles. And then let's make the easiest saying that f 0 select involves skills at 0. And what we want to do is we want to move these. And I'll select the bottom edge loop of both of these hexagonal shapes. Go into your front few, go into wireframe mode and just lined them up if the circles that we just put like lower. The only thing that we want to do now is fill this up. So how are we going to fill it up? I think the best way is to just create trees like this. And now it's a little bit time consuming. And there we have it. Very, very cool. There is one little problem though, and that is if we're going to activate our subdivision surface now, you will see that everything gets moved out. Even these nice, yeah, when the circuits that we made. So if you select those circles and beveled them, so mean beveled weight is put it on because we're using the same modifier. Here. We have yeah, we get that the BEC. So do the same for both. And we have that quality back. Very, very cool. This, this doesn't look like a hex conical shape anymore. And if you want to fix this, you just should go through Face Selection. Then you select this whole edge loop around it. I'll these faces and make them also a mean bevel weight. We can see some clear like artifacts down here. And this is because of the baffles and efficient service that we have. So we need to select every single one of these phases are rounded. So we need to select every single one of these faces around the hexagon shape and also give them a baffle and that will get rid of those artifacts. And now we have our cylinder. It's still called cylinder. Let's rename it and make it a barrel, right? Names are very important, just so we don't get messed up with it. And for these ones, I want to change a little bit. And that's mostly because I do not like these corners in here. And I also don't like the fact that it has no bevel at all. So what I want to do is I'm just going to unhide the other part. I'm going to delete the bottom. We're not going to see it, so just don't use it. And also I want to change the geometry of the stop bit. So I'm gonna delete that face as well. Select this whole actual loop than extroverts, snap it back out m and at centre. Very cool. Now we can essentially give it a bevel modifier. And you can see that this bevel, Well for me it's easy to see. Maybe if you're a beginner, you can see that easily, but it's a little bit weird, the stretched and the way that you should change it, It's just click on contour a and apply the scale. This is all just because if you scale it up or down, you can see that it moves. And if you want your bevel back, you have to just click on contrary and scale, so it knows the right scale of your model. Okay, so that's it. If you get a subdivision surface in here to make the bit more smooth, you can see that we still get all of these corners. That is mostly because our befor modifier is working on every one of these actions and we do not want that. So I'm gonna put this limit method2 angle. And let's put the segments also a little bit up and the width also of course, because that's just not the way that we wanted. Then click on w, shade smooth. And yes, essentially it. So let's say we wanted to have the exact same modifiers on this one. We can actually duplicate them. Let's first make this model a little bit better though, that we do the same. We're going to delete this face and this face underneath. Select this whole edge loop x truth. Then I snap a BEC. When I click on the right-click, it just snaps back alt em at center. And very, very cool. So let's also apply the skill apply scale. So now we're going to select the model that we wanted to change. First, then the model with all the modifiers that gun control l, and then click on modifiers. So now it has exactly the same modifiers as you can see, and we do not have to add anything different. I just gave the shade smooth, but that's kinda it. So here is the high bully of our barrel. And I will personally also just change these names a little bit. Make it big cap and small cap. It's just so you can see the difference. Now, I want to show you also a nice way to save our stuff. And if you made a safe file before which I'd really recommend, I recommend also doing a, maybe a part one or just lowercase one. Because now if you want to save it again, you can just click on plus on your number. And you can see that automatically will be changed to, I notice does take a little bit more memory, but it is very handy to have multiple safe bars because remember, in this part we actually accept that our mirror modifier. And what if we wanted our back there? You can literally just go one blender file back. You know, you can just go to part one instead of part two. And I use it a lot. Anode really recommend you guys also doing it. Just saved a few more times than you think it's necessary. Because, you know, once the time is there and it gets N_hits crashed, you will get mad at yourself for not saving it. This is kinda it for right now. And we are going on in the next part and create our low poly. 15. 2.5 Barrel: Lowpoly: How are we going to make a low poly from this high Polly? The first thing that I like to do, as I just like to name this collection, HI polly. Create a new collection, this right-click collection, and changed his name to low poly. We're gonna put our barrel in there so it's just duplicate it. And then a duplicate, we're gonna put in the low poly, Same for the big cap and small cap shift D. To be honest, we're kind of just join them together, the small cap and the big gap. So just control j and then just rename them. Somebody like lists would work. Okay, let's hide the hyperbolic and let's look into the so-called low poly. Okay, the first codon, delete the modifiers. As I said, we don't need any, any Bevel or any self deficient on here because we're essentially going to bake all of those details from the high Bali onto this one. Let's go into edit mode and let's look just at what we just made. We can see that some of the vertices that we have are kinda unnecessary. So these ones are all made for a certain depth, which I do like, and it does give a lot of extra detail. So I'm going to keep them them in. But this one here as like literally no reason. So this one we can essentially just click on X and then do edge loop that will dissolve the edge loop. We don't donate them. It did not give any extra detail, and it was just more vertices for nothing. We'll resolve them more polygons. So very, very simple. Let's do care in a bottom. Here, for instance, this one on top, it gave us a very nice bevel in our high poly, as we can see, both in our low poly, we do not need them, so I'm gonna select that and delete this edge loop, also this attribute on top. We do not need just only the ones that will give us some extra forms. So this one here, so we don't need, and you can see that slowly but surely we're gonna get rid of a few of them. I think I will keep these here because they have a, they give us a nice more smooth shape. And we can always go back to our low Boolean chains with stuff if that is not the case, Yeah, same here and delete this edge loop. We don't need it also there on top, this edge loop, and here this edge loop. So if we look here, we can see that this is already quite good, but it's not really optimized yet. We can still get rid of some of these edge loops. So what I'd like to do is I like to select these. Then this one is last of m. And then at, at last, because the last selected, the fantasy that, that will be the one that I want it to be selected to. At last. M at less. This already way better. To be honest, we can also get rid of this one, but let's just keep it at this right now it is okay right now and yes. So furthermore, I think this is it. But we can see that there is yet like we have no sharp shading or anything like that. If you if we get rid of all of these Bethel weights. So if you go to the top, you just click on aids and select everything and put this mean bevel, wait all the way to 0. You can see that we can essentially add E and a mark sharp. We can mark this as a sharp edge, which is very handy for baking later on, but nothing is happening. Why is that? Well, if we go here into our object data properties, we can go to our normals and do auto smooth. And I normally put it at like a 120 degrees. And this is essentially it has moved the shading. But you can see that now the one that we made sharp is actually has a sharp shading on here. So let's select all of these ones that we want sharps. So there's this, this, and then this, Anna Bolen and this one, country Mark sharp. What does this do? You can see that the shading is way better and this is still our, just, our low poly, right? So yeah, this is really what we want. So I'm gonna do the same here. For E. Mark sharp. Very, very cool. And then of course, we can also kinda do with hair, right? So this one, this inside here, this circle even I will probably like that as well. So select all around Mach sharp. You can see that this is nice and sharp now and the atmospherics as well. And make sure we have this shade smooth though everything, yes, that's better. Same here. Select this E MC sharp garments do the same here with our hexagonal shape that we have. So most of the time, you do this when you have forms that are like for sure, sharp. So also the 90 degrees angles hair. And for other shapes you do not really have to do it. So I'm not really a 100% sure about this one yet. If I have to do this one or not, maybe clears first because it is not going to be all the way sharp, right? We have a certain, we have a certain, well there. We can always go back again and really look at the levels that we have. And even if we have, as you can see, we have a nice bevel on here. So I'm not a 100% sure about that one yet. But we can always go back and shading Becker for off to look at the model. Let's just What about we do one country and then also the stop bit, contrary mark sharp. And then later on we're going to look at our bakes and we're gonna look at the difference that they have between them if one is shaded better than the other one. So we can always find out which ones we'd like more. So very, very cool. Here in the bottom. Contrary, mark sharp and I'll also this bomb to mark hope, Marc sharp. Here and here on top as well actually control marsh or all of these 90 degrees angles you really want to mark sharp, Let's say. Ok, cool. So that is essentially how this barrel is going to be done. Yeah, and as you can see, this one is really weird, but we're going to look at it later. And for the lids, it's kinda the same. We might be 0V and we might even changed these vertices like this is a lot of vertices for a small little lid. So what we can do is essentially, if we hide this barrel for a second and look into the small liquid we have, we can delete this courtesy. And that's just like select every other edge here, x and then the sulfur edges. Now just actually again all m. And then at center, I kinda wanted the lead of these modifiers. They are not needed and create an edge loop and Mark sharp on the top. Okay? And this one, let's just keep it at this amount of vertices that it has. Just create a mock sharp here on top. And that should essentially be it. So this is our low poly, and in the next part we're going to create our user fees. So you guys there. 16. 2.6 Barrel: UV Unwrapping: Okay. Let's make our YOU fees is essentially quite an easy. That's just got to our UV Editing tab here. And we can see that it already made some new fees, whether it's not really the way that I like it and the ways we make you feel it's quite easy. I'm just going to select this edge loop here and this edge loop down here. Contrary and Mark seem, if you've marked seem like they're the, the model will be cut off, let's say. And yeah, if we cut it now it will of course not be good yet. You can see that we have some weirdness and also the, it has non-uniform skills. So let's also apply to scale. A scale. Now going through the front view. And one important thing is to hide your seams. But yet this model is round and there's not really a way to hide her seems. So I'm just gonna do it in a front view for right now. And I'm going to select from here all the way down to hair country Mark Scheme. And now you'll see that if we unwrap it, we have this very nice UV map here. Very cool. What I personally miss in this little tab here, It's a way to check are you fees and registered at very quick. I'm just going to grab a extra tab down here and shade editor. Click on new. And we're gonna give this a image. So image texture goes into the base color and we're going to create a new image, 1024 without sorted for us. Okay, we just want to put the generated type at uv grid. Click on OK. And now you've created the UV grid. If you look at your material. So if you look here into the material render, you can see that RUP grid is here. N. If I look here, we can see that we have like almost no stretching. They are nice and square all the way around and that's, yeah, that's the way that we wanted. Very, very cool. So what about these other parts? Are they also good UV on rabbits? And in this case, I, I do see some stretching going on. It is hard to see. And when it's as hard to see as hair, which wants to do is she wants through or skill up this texture or skill up your fees. So if I scale this up, you can see that these cubes get way, way smaller. And I know it doesn't really fit in there. But now you can see if there's any stretching happening on smaller cubes. And you can see some obvious stretching happening here. And we do not want that. So we're going to cut this off a little bit more and get rid of those little stressors, right? So let's go back here. And most of the time, just creating seams around 90 degrees edges, just as we did with our marks. Sharp. Yeah, works quite goods. So I'm just going to do a zoom all the way around here. And then also I'm going to cut off this hexagonal shape. Contrary mark scheme. And then if we aren't rapids, you will see I already know that we need to change some more, but you can see that all of these things here becomes circles. And remember that the last time, what we did with our front view, we just are gonna continue this little seam here. Okay, so we're going to select this hair and just continue this seam around the top country Mark Scheme. And now they will be more like elongated as you can see here. And let's look how much stretching is happening now. So, yeah, let's scale this up a lot again. And here we can see that there is no stretching down here. Up here is also very good. They're all nice and square as well as in here. We do see some stretching hair with, in the hexagonal shape itself, but not this lit on top. So we just need to create some extra edge loops on the hexagon local shapes to get rid of those stretches. And those are literally just these edge loops. Because let's look a little bit more into depth in those. You can see how I get created. This gets like, because we're only putting a seam down here. It falls off and then, you know, it folds up like a morphous circle instead of a hexagonal shape. And that, that is not really the way that we need to, to UV on rapids. So I'm gonna unwrap it all away down here. Contrary mark sharp, and then you unwrap, and that's Luke. And here we will be able to see that this is gets caught off, which is the way that it should be. And then if we scaled this all the way up, you will see that. You will see that we have like no real stretching happening anymore. We do have hair though, and that is because we did not change this. So let's go back here and also create these etches, country Mark seam all the way around AS perfect. And then here on the bottom, we of course need to do the same with these edges here. So this, this, this, this, and then there's an Ebola contrary mark scheme. And we also need to continue that selection. So I'm going to have a front view and just continue this little edge loop down here. To be honest, this is a flat space which we do not really need through UV on rep because it's just going to be a flat circle, which is Guth, this one also, as well as this one. Here. It's just going to be a flat circle, right? Which is already as so. Even if you like you free on rapid there, it will not really get uv unwrapped, UV unwrap. And here is all of our detail. So here we have those three. What I personally would do with them is I would reposition them a little bit. So these are not the only UP maps that we need. We also need these hair right from the list. Let's are essentially quite easy. You just need to cut off this little cap here on top with both of them marched scheme. And then yeah, also with these ones, create one little seam. And with this seam, I will put them inside. But yet like here, like here, country Mark's team. And then this one hair, this will probably be like a little bit hidden. And then you unwrap. And that's that I would join these together so much ease up control j. This is just going to be a one model. And try to make the space between this as small as possible so it goes inside. Because the longer you make this, let's say I make it this long, you will still not see any problems on the top, but what it does, it essentially needs more space in a texture maps, right? So, and we don't really want that. We want to give it, you know, just the right amount but not too much. So I'm gonna move this also a little bit to the top, just hair, so it just goes inside. And that's okay. Unraveled again. And here we have everything. So now I want to reposition of this a little bit. And the way that I like to do with the most important parts are going to be big and the less important parts are going to be smaller. And yeah, that's kinda it. These parts are the most important to me. The top one where we maybe if one some oil spills and whatever to b and the side piece which is just going to be the biggest, right? So those are very important to me, which are a little bit less important are the, is the bottom plates. Maybe we will not even see that much in games, but maybe you want them to have laying around and then the bottom might be just as important as the top one. So just keep this in mind. It's very hard to see on this. You FEM ab space. So what about we change it for a second. I'm just going to create very quick a new image texture. And it's just going to do with, with all the way at a white, make sure it's two blank and then, okay, and then just selected here so we can create them a little bit easier. And with these circles, I, I'm just going to cheat a little bit. What I'm gonna do is if there is a one smaller, one bigger, I'm just going to move them a little bit inside. I notice will change a little bit of the resolution, but it will give us a lot of space for our other maps, which I think is more important. And these I will just make a little bit bigger. Just make sure they're not really overlapping and charter and yet they're not. So this is good. And I move it to one side. And I might even move this one inside here. So we really fill out the space Guth and this is the underneath. So it is less important in this case for me. And yeah, this is going to be very important. So I'm just going to scale this obsolete, literally fits inside, tried to not make it move outside of the corners because this will make it overlap on the bottom here. And omega gets smaller. You can see that this is not really all the way straight. And if you really want to put it in games and perfect it, I would do that personally. So what I will do is I would select this whole edge loop here. Then scale y 0. You can see that it gets straightened out. I'll do this all the way around. So if select this one and then I would also scale y 0, do this all the way around. But one little tip is if you just select this and click on shift r, it will just repeat your last, the keystroke. So you can just do that the whole the way true. So shift, our shift are same here. Scale x 0. Not as nice as straight. Larry put it like a here. Make sure you move from the 3D curves for the 2D cursor and you are scaled up. The hair. Yeah, and that's perfectly scaled. So now we can fill in all of these other points. I want to move this to the sides. We can scale this up as well, by the way. And then let's move this offer seconds and just focus on these parts here, which are going to be quiet and foreign. And so I'm going to scale them, make them vaguer. Just to fill up more for a space that we have. Let's use all the space to our Finnish rides. And then we of course have these hair. Awesome. So these are UV maps that saved this again, save s. Here I have Part three plus 0.4, and that's it. So in the next part we can start importing all of this into substance painter, and then we can start creating our materials. I see you guys there. 17. 2.7 Barrel: Baking: Okay, so it is time for us to export of this. And well, here we have our barrel that's just du barrel lamb. And export this file export lets us over j for this time. And here we have our barrel. I'm going to do the selection only objective as a gay geometry. Not apply any modifiers and also unknown voltage rises materials. There's going to be our barrel, a low poly expert LBJ. Then we have our high pulley here. And then the select everything that you need. So it's this one and these two bad boys here, file exports over j. And this is going to be the barrel high belief. And for the high bully, we're gonna do the selection only as well and then apply modifiers. And that's it. And so we can export it. Okay, let's jump into substance painter and restart a new file. So File New. And we're gonna select, of course, our barrel. We're going to select our low poly. Let's put the documentation at a ten hundred, two thousand forty eighth. We might export it essentially in a 1024, but is always nicer to work with a little bit more detail and you can always scale it down. That's the nice thing about substance painter. So I'm going to click on OK. And here you can see everything like RUP maps and I'll add shebang seems goods. You can also see that our sharp needles are being calculated goods. So let's go to the texture set settings and we're going to bake our map. So let's do our hair, going to add our high definition. So barrel high bully. And let's put the output size first at 1024. Why do I put this a little bit lower? That is mostly because I first just check it out Rino if there are any big problems and right now then I can already resolved without waiting too long to create the bigger texture sets. So bake it. And here they get baked and aggregate. Ok, very cool. And let's look if our, if everything is vague divided we want it's actually not too bad. And here, and this is some baking problems here, which this is the small amount, remember, and this one we made its sharp and if the other one not so it could be that we need to create the sharp details on top of that small one as well. But they are also smaller in R like feel maps. So that could also totally be it. And here on the bottom this seems he actually all the way. Okay, so let's look if just going higher up in our detail will actually resolve these little nest details here. So as go ahead to 2048 and I bake, as you can see, we still have these lines down here and it is just because we made those sharp in Blender. And yeah, we're gonna change them and also the actually conical shape. So let's jump into Blender. Go to are a low poly. And these sharp edges, let's get rid of them. Sharp. And as you can see, the one lifted better shading in, in substance bearing there has no sharpness. So I'm also going to delete the sharpness around this small one. So let's get rid of this sharp edge loop. But remember we also have sharp edges underneath the seams that we've made. So make sure you also delete those. And yeah, everything you have to do is just select your barrel File, Export, LBJ. And then just as the low bullet we had, exports. Go back into substance painter, which can do is you can just go to Edit Project configuration and then select your low poly again, and then click on OK. Now just rebate. Good. Yes. So we don't have these nasty lines here anymore. And this also seems way, way better. So that seems, seems to fix all our problems that we had. We have no weird, weird lines anymore and everything is nice and smooth. All the sharp edges are working great. And yeah, that's kinda it. So I think in the next one we can already start making our materials. And I hope you guys could also see how easy it is to just go back one little step. It is not hard to just change your models a little bit yet. We can already saved this substance painter files are well, And that's it. So I'll see you guys in the next part. 18. 2.8 Barrel: Materials: Okay, so now we are in substance painter and we want to create our material. So I think it's the best for me to just show you a few ways to edit certain materials. And yes, so let's just start with that. And the first thing that I like to do is to really just look at our reference images. And well, here we have them. So now it's time for you to choose what you really want to do. Do you want a nice red one or the one that blue material that we want them to be as warm as this, or maybe even born as these ones here. You can now start to make decisions. And I think the best thing to do is just jump into assumptions binder and look at the Smart material. So I want to look for a painted, a painting that steel. And here we have all these Still painted like smart materials. And let's just pop this one in so you can click on the model or you can put it in the layers. Let just do it on the model right now. And one thing that I would like to say is that if you're making a portfolio, a lot of like hundreds of thousands of people are using substance painter. And the problem with this is that these smart materials like people who are, are, are, are recruiting new 3D artists. Like they kinda get bored of these materials that are already preset. And the way to go around this is or create your own materials which could take off time. Or you can really go into these materials and edit them the way and added them in a nice way. So they, you know, look a lot like the reference images that you're making. Plus they don't look so general in the, in their perspective. So if we go in here in this folder, you can see that this material is made out of multiple layers. So let's hide all of these layers except the last one, which is the base metal. And we can see that, yeah, this is our base metal very, very goal. And the base metal itself, I think, looks good. And then we put some paint on here, so bang. And you can see what the spring does. At first of all, it has a color, right? And we can change this color, we can change the metal, we can check the roughness and the height. I'm going to keep them after this for right now except the base color. Let's just change that to blue. It doesn't matter if you guys like red do read, but I just want to show you how to change of this. And let's say I'm okay with, let's say I'm okay with this. And we of course also have a mask. And this mask essentially shows where the damages and the wearing will be and how does it show it? Well, you have a mask builder here, which is one of the, I guess the generators. And when you scroll down you can see what four maps this generator is using. We can see the curvature, we can see the position, we can see the world space normals. And if you remember correctly, these have been baked from the high Polly. So if we go up here to our parameters, we can change all of this to our liking. So let's say we want to put this level a little bit up, which actually creates more of this where, right? We can put the contrast up or down. So do we want more or do we want a more sharp or do you want a little bit blurry? We've been some extra grunge in here. So if you want to extra, extra grandeur on here, that's also great. I think it looks really cool. Maybe put a level even a little bit up. And you can change this curvature maps so that you want to make it work a little bit less. So playing around with these values real change your material. And as you can see, you can get really, really great results from it. Let's go to our roughness variation. Without a roughness variation on, let's look into a light. Here. You can see that we just have a basic roughness on here. It's just one level of glossiness. Let say, if I put it on, you can see that there is a grunge map on top. And this will create a lot of different values in the roughness. So I can also change, of course, all of these variations. So you can put the contrast up or down. You might even want to right-click and add some level students, you can also change the hair. So those are also some options you have to change your roughness map. I really think this is a very important one. It will really make your models just pop out of the scene if you have a nice roughness mapping there. So put some extra time into those. Then we have a dirt level which essentially is some third or some dust on top of something and you can see where it builds up. So also with this one, you can change everything that you wanted, like a different color. Do you want it to be a bit more dark or maybe even a little more light like a dust. You can of course also go into this mask and changed a lot of stuff. So here, curve turbid down, level way down. And yes. Let's just add some small details on hair. So very, very cool. And the sharpen just sharpens our details. The only thing that does, yes, so this already looks quite cool, right? And I think once you get to know how this works a little bit, you can start creating your own. So let's say we want to create some oil on top of all of this. So let's do that. Let's add a at a fill layer and let's create the material for this oil. So I'll probably be quite dark and quiet, shiny, right. And then down here, we could even change the height a little bit, but it's def, it's very difficult to see the high difference if we don't have a mask because it just, you know, it's all gets the same height. So when we want to do here, right-click, create a black mask. Right-click again, and let's paint our own oil. Instead of using a generator, we can just go to add pains. And let's go to the shelf and we can change, click on brushes. And here we can click on whatever we want. So what do we want? Do we have some fingerprints? Finger? Yes, we do have some fingerprints. So let's use this. And as you can see, you can just click on here and it will add the material. So let's just add some of these fingerprints ALL here. Bam, bam. That's really matter where. Well, you want to think about the places where they probably pick up this barrel. So if you pick it up a lot here, more finger principle be here of course then somewhere else. And the nice thing about using this as a mask, you can still change the material without the mask changing. So we can essentially make this blood, right? So so as you can see, you can really expand on all of this with just creating new layers with extra details on top. So let's say we want something like a danger label on top of hair. Well, I actually I actually already made a decal here warning. It's just a sticker on top. And then I also made an alpha fourth. If you want to learn how to make these, I have an extra section. It's just gonna be called extra hours. Yeah, we'll go into depth into creating some of these decals. Okay, so the first thing, just want to select them. We want to select both of these and put them into the sea, into the shelf. Then go here and you can chains wherever you want it. So this one is going to be at the alpha and this is going to be a texture. So one is going to be texture and wanted Vico alpha is going to be an alpha. Now you can import it. I'm just going to import it in this project. So project barrel then import. And you can see them here. Very cool. So now what we can do is we can just create a layer. So add a layer. Go down here. This is going to be our alpha and our color is going to be this. And now you can see that I can just paint this wherever I want. Very, very goal. So that's just go to the front view. And you also want to change like the roughness of it because it's a sticker, so it's probably a little bit more shiny and click on it. Biennium. So there we have a different roughness for this. We can even put a little bit of a high detail on here. So let's say we wanted a little bit higher, will be the other sides. So now it's really a sticker that also is a little bit higher than. That, has a little bit of high detail. Very, very cool. And if you want to make it also that it is a little bit of Warren, I would get a black mask and here create a fill and just put a grayscale and here, So let's look for a cool grayscale clouds. Clouds could also be already cool. The only thing is that clouds have no contrast. So this contrast needs to be up and just put this balance a little bit down. And as you can see, this is how we can create some easy wear and tear. So is this the only material that we have? Not really, because if we look back, we have also some plastic on top of here, right? We have these two plastic little lids. And those are these hair. So let's get a whole new smart material in here. Let's do a plastic. And let's just do plastic dirty. Who gets the thing is we want to give this material to only those two lids, right? How do we do this? Well, you just have this whole folder right-click and create a mask. So I'm just gonna do a black mask. Now if I select this mask, I can go into here, which essentially is the polygon of Phil. But we do not only want to fill the polygons, we want to fill the whole mesh, right? So Nashville, and you just click on these two, and that is essentially it. You could go back to drawing. And here is our material for these two lists. Very, very cool. You can also change all of this, but I'll leave that up to you guys. And in the next part is we're going to import all of these materials and model into Unity. So I hope you guys learned a lot and let's just go onto the next part. 19. 2.9 Barrel: Unity: Okay, so this is our 3D model. And the only thing that we have to do is go into File, Export textures. We'd just gone up, find a nice way to export it into. I like to export it into wherever I put everything. So that is in my barrel option here. Make a new folder, textures going here and just select this map. And we want, as I told you guys before, we wants to use Unity. And it's gonna do Unity five. And I'm going to standard metallic and then export these textures. So here we have unity. We can make a new project name if you want, or you can just put it in one of the games that you're making or whatever, create a project. And here we have it. We are going to be the same as before. We're just going to create a folder with models and another folder, create folder with textures. Now, we're going to put architectures in the texture folder. And of course our low boldly into the models. We can just slide it in here. We'll go cool. And yes, let's get also are other asset. Let's get a texture sin here. And you can just do the Kohler first volume, going through a spectre. And you can go lower here. You can add your other models, which, which will be the metallic Jordan here. And of course the normal map, which will be here. And here is your model in Unity, all ready and set to go and play. Very cool. I hope you guys learned a lot and see you guys in the next part, we're going to create a totally new model. See you guys there. 20. 3.1 Cardboard box: Introduction: So in this course we're going to learn how to make these nice boxes. And while they're all the same, of course, just copy them. And yeah, it's going to be a bit different. Like I am not going to look at too much reference images. I already made a folder and I'll show it to you later, of course. But I first want you guys to look at it. Yeah. Appreciate what for materials and has you can see a lot of different materials on this. You can even see that there is some tape on top. And this course is going to be very focused on the materials because as you can see, the model itself is a very, very simple. So this is essentially my folder. And you can see that I just downloaded a lot of images. And I didn't really go into Photoshop and block it out because I can already see it's just a cube, right? Like there is nothing really what I can learn about this. The only reason why I chose all of these images is because I liked certain things about them. So for essentially it's more for materials. So unlike the scholar, I did like the tape, you can see that all the hair a little bit darker. And to be honest, there are some things that are still would want to change in mind, but you also have to call it quits one day. So this is the end result and we're going to work towards this. So I'll see you guys in the first part where we're going to create the model. 21. 3.2 Cardboard box: Modelling: Okay guys, so we are going to make our cardboard box right now. And this is of course. And I did not really bother to go into Photoshop and look for a lot of reference images. What I did was I of course made a folder where I did most of my reference images inside which were images where I can see some differences in the materials and what materials we're gonna make. But yeah, the model itself is quite easy. It's quite simple, right? So the block algebra just really be a block essentially. So it will just be this default cube and we're going to use and I, we just need to scale that up a little bit around the y-axis and just make yeah, camera of a book shape, right? So I think this looks quite cool. So I'm literally just going to keep it like this. From my memory. I know that this top it is a little bit annoying to make because we have these different flaps over each other, right? And I found a way that we can do it. So you deleted this top face and we're going to apply the skills. So going through object mode a and scale, then go into edit mode again. And here we are going to give all of these edges hair on the sides. And I'm also going to do an on the bottom. Select them all, click a cone for B and create three edge loops. So control v creates like a battle, right? And then if you scroll up, which creates a third edge loop in there, so around this size should be good. And what we're gonna do now is we're going to select the top part and we're going to extrude it. So I'm going to do here x truth, and then just scale it down. So scale it down around the hair, doesn't matter too much. Then when we've scaled it down, we're going to match these up. So I'm going to select these powder vertices first than the male further x and all m. And then at last, so they merge together at the last year, the last one we've selected through this for all the sides. Okay. I'm going to hide all this bottom face for no right now. So just select the bottom face and you want to expend selection with control plus d2 times even tree click on h. And now I want to focus on what we have right here. So you can see that scaling it down doesn't really mean that this distance is the same as this distance. So tried to give those distances like quite the same. And what you want to do with this is, I want this whole edge to be on the same length as this one. So if we look here, we have the x axis. So it should be around the same length on the x-axis. So we're going to select this whole edge here. Volume. Then select this one as a last, and you can see that that vertex will be white. And now we're going to go here and then do the pivot point, put it through active element. The active element is essentially the white vertex that we have. So now we can do skill x 0. So remember this is the x axis and our skill it around the x axis for 0. So I just click on number 0. And this will just matched up perfectly, like it will align perfectly with this vertex around the x-axis. So we're going to do the same here. So select this whole edge. And then this one is last scale x 0. We're gonna do the same here. But remember, we wanted to be around this vertex here. So now, also remember that you have to do around the y axis scale y is 0. If the skill x here, you can see that a lot of weird stuff will happen. So same here. Skill y is 0. And now we have a very nice and square in the middle. These all line up perfectly and we have a Kelvin here. So if I unhide all the other stuff, you can see that the battle is still there and everything is still intact. So why do we do this? Well, first we're going to extract this whole edge loop down to the bottom around the z axis. You can barely see it, but it's this whole inner edge loop and then just fill it up with f. And now we can essentially create the flaps. I'm just gonna call it flaps for now. I'm not really sure what these are called, but I will discard flips. And what we're gonna do is we're going to select essentially these faces and they'll do the shed. I will just show you what will go wrong and how we fix it. So we're going to extract this and then put it to the middle, right? And this will be one flap. The yeah, it looks good on the top. But if look from the side, you can see that it goes from quite thick through very thin. And we need to find a way to counteract that. So what we're gonna do is I'm gonna select this, this phase that was totally fine what we did there. Then I'm going to extrude and are just going to extrude like one of these units up and rotate it a little bit. Then execute again, rotated Livermore and moved a little bit around and now extruded and really put it towards the middle, which is around the Z axis hair. And I'm just going to put it here. So this seems like a way around it because now we have still a nice thickness around here, C. And once we give this some extra subdivisions, you will not see these corners. You can also give the smooth shading, but we still need to play around with that. So we need to do that with every single one of these. So you also hear zoom a little bit in. Remember the first one was around the first extra Ruth. And yeah, this doesn't have to be too specific. So just do whatever you seem like as good. And you can always go in there and change some stuff have. And this will also be around the middle. Don't be afraid to leave a little space opened that will also work like that in real. So very, very cool. But what about these other ones? We're going to do exactly the same here for the smaller ones. Remember, they do not go to the half, so they go a little bit less for far less than half of the box. And they might go in this geometry that we're just made. That's totally fine. We're going to fix that later. Ok, so just focus on what we just did right now and redo it. And if what we just made is kinda bugging you like you can't see it, then just don't be afraid to hide. And so how I will do it, select these two faces, and then click on contour plots to extract selection. Just do it a few times and then click on h. So now they are hidden and you can just work on these outer two bits by themselves. So I am going to actually this rotated or with extra row and extra roots and then find a place where you think it will look good. Thing around here. Maybe we won't further somewhere hair. We can always change them, remember? And right now you wish you could be able to do a mirror modifier. And, but I'm just gonna do it by hand right now. So this one goes 123456 units. 123456. So around hair. Awesome. So if you now unhide everything, you can see that, yeah, this is all a little bit buggy and these are all shading artifacts because these eddies phases artists going into each other. That's totally fine. We're going to fix this. So I'm going to save for right now and then I'll fix it later on. 22. 3.3 Cardboard box: Modelling part 2: So that's going to edit mode and create some extra vertices. So I'm going to SU, three edge loops here. And then one on top, one for h. And we're going to do the same here. We're gonna do three edge loops here. And then we can't really see it. But we should also do one edge loop in between there. If you, if you can't really see it, then we should be able to hide some stuff here. But yet here goes one as loop and hair of the smaller flaps as we call them. Ok. And now it's time for us to kinda move of the stuff around so we can actually, you know, make it look realistic. And one thing to look at is when you have these images here, how they are folded. So I don't know. I'm not sure if you guys followed a cardboard box? I did a lot of times, but the one gets tucked in and then the other one goes underneath, right? So that is every time a add just the same. So we're going to start with unhide and everything. And I'm just going to select this edge loop hair like this edge here in the corner. And with control plus, I'm going to expand my selection. And here with this is called proportional editing. We can turn this on and what it does, it moves everything inside the circle. The only problem is that it moves literally everything inside there. But we have an extra option here which is called connected only. So now it will only move everything connected to this selection that we have. And if we scale our Slack circle down, less and less of the outer vertices will actually move with it. So I'm going to scale it down. So I do not move this outer box with it. And then I'm just going to move this a little bit down. Awesome. So if you've moved it down, we can move this Ottoman up. So I'm going to select this one plus and then just move it a little bit of hair. And yet this is essentially how are we going to do it. And you want to make sure that nothing really goes inside of each other. So at the end you will probably move these as well. Just make this a little smaller. You move this up and this one down. A will start creating a yeah, realistic looking box. So this one goes over it, then this part of this long thing goes also over L. So here, plus he's that goes over it. And then this one should go underneath this long part. This, and this one goes higher. Right? So this way we create our box. So I'm just gonna play around with it and you guys should do as well. So we both have the same result at the end. So let's say we're happy with this. Then we are going to create some of our modifiers. So here we want a nice sufficient surface. And I also would like a little bit up and output angle. And look if we can find an angle that looks good. Again, it's a little bit hard to find an angle that looks good. So I might use our trusty technique, which is the weight. So remember with the weight, we have to select certain like edges and assign a weight to it. So I'm going to hide the subsurface church right now because otherwise it's a little bit hard to see going to select the edges that I wanted to make sharp. So Hare, Hare, Hare. And then of course these inner ones as well. And I know that this is a little bit hard to see because, you know, we going inside of this model and inside of that one. Yeah, but this is a trustee technique. So let me just show you what it does if we are actually going to put his own mean baffle weights on the edges that that goes up. And we can see that this gives us nice and yeah, with clearer a sharper edges around hair so we can even put the segments a little bit. Upper three would like to play with this width. But yeah. So do this around all of these edges. Okay. So very, very cool. And in the next part we're just going to create a Arlo volleys. So I see guys there. 23. 3.4 Cardboard box: Lowpoly: So it's almost time for us to create our low poly. First thing I want to do is make sure our self deficient is only again. And we can see that, yeah, we do have some problems here. So we might play around with the segments, put it a bit higher with this width. But you can see that it doesn't really fix it. But we could do is pray this few ports, put it a bit higher. This will work, but we still have some of these artifacts. So what you could do is duplicate this already named one of the books low and the other one high of course. So box. Hi. And this high one of we are actually going into it and check if we can fix this. So I will personally do is create some extra edge loops. So here, And that seems to get rid of a lot of that. The unknowingly though, there is still a little bit, but it is already way, way better than it was before. So yeah, just give it a little bit more and you will see that that changes a lot. So make sure you do the everywhere. Just check out one corner first and then just duplicated on Aidan every one of them. So it seems like I just need more vertices, as I said before. So we're just going to reproduce that on all of these sides. And then check them as last. And if it seems good, perfect. The only thing that I remember for high police that we totally forgot what is inside here. So let's actually select this little bit of our casing that we have. Mixtures are the same. Hide it. And here we can see what this inner part does, right? So also creates an extra edge loops around this inner part here. We won't really see it, but you might be able to detect it with the fees later on. Okay. So that is like the hypo is totally down. Now. Let's go to the low poly and we want to delete the buffalo and the self-sufficient surface. And what we can see here is, yeah, our model, very, very cool. Let's put on our outer smooth in here. So go through object data properties, normals out smooth and put the angle through on a 120. Okay? So this is a 120. So there's actually already Ed, we do see some yes shading artifacts hair, which they are not totally wrong. But you will see that if we have this edge hair, which we just made those mean Bethel weights, if we create also a sharp around there. So let's select the same vertices, the same edges. And let me go all the way around the hair. They create a mark sharp. You will see that the shading totally changes. And this is way better for yet for what we're going to make. So I will do this also for every side and I'll see you guys when I'm done. It is hard to see by the wave if the mean baffle weighed on. So I'm going to select everything and just put this mean buffer weight off so I can only see where I am working out. So if we're done with everything, we can kinda look at which vertices we do not need. So if you want to optimize this as well for our and game engines. So if you want to have these vertices a little bit lowered, you could of course, merge all of these vertices together. So what you want to do, what you want to see is that a flat space does not need a lot of these edges that we have here, or especially these vertices, because yeah, they, they don't provide any curvature or whatever. We do want to keep our bell wall here, which is important, but all of these vertices would be yet kind of unnecessary. So why can we do it in these corners and not here? This on top actually gives us some deeds. Alright? So this seems to be fixed. Let's also expense selection high to in part. And you can see that, yeah, we kind of need to do the same on this, this insight. So I leave you guys to death. And after you are done with that, then we've gotta go onto the next part. So I'll see you guys there. 24. 3.5 Cardboard box: UV unwrap: Okay, so how do we make our low poly? Well, one very important thing to keep in mind is when we look at our models where we can see that we have some, yeah, some taxes are more important than the other ones. So let's say this texture here, which is the inside of the cardboard, let's say that it requires a lot of texture space. Because I don't want to go through like 4 thousand textures for this simple model, I want to keep it the way lower, maybe a 1000 hundreds or maybe even 2048. Why we need to give certain piece of your model some more texture space and other pieces. So let's say the insides which we do not really see. We do not want to give that a lot of space. So what we're gonna do when you feel rap is I am going in here and I'm going to hide this again. So plus, plus, plus H. And here we have the inside of our mole, right? And this inside is all nice and dandy, but we're going to select this whole edge loop around it, which is all the way around here. Then click a through E And Mark scheme. And we already know that we also have to mark these seams because otherwise it won't really go into a 3D, into 2D space. So what we're gonna do now is I'm going here into our UV Editing space. And I'm just going to select, let's just select this low part right now. You unwrap, and here we have it. It's already a very good UV on ramps. And yeah, I already know from experience that this is good, right? We have a nice 2D flat space. So having that taken care of, no, like now we know that this doesn't take a lot of space, so we can already make it a little bit smaller, but we'll fix that later on. So what does need a little bit more space where all if we unhide everything, we know that of course, this outside needs a lot of texture space, but also the spots, hair, so these edges, so we are going to give them also a nice seem. So I'm going to just see this all the way off. Let's look here. Contrary Mark Scheme. See, so we've got to do that with every one of these like this, which we mark scheme called Three Marks him. Then as last we have this bad boy, a mock him. Okay, so what does this do? Well, let's UP, unwrap everything. You can see that we have a whole mess here, which is essentially just a cube. And then we have some more like some nice parts just nicely cut off, which are the parts that we have here and of course our insights. So how are we going through you if we unwrap all the other parts? Well, I like to create an edge loop in here. And let's do this all the way over there. There. And there. Mark seem as Luke if they're all the same. There's one has not been the same here Mark scheme. Okay, let's wrap this now. You can see that this is nice and got out now, which is essentially the bottom side. And these are for like flaps at what outside. Which are these. And then we have this here which is not really perfected yet. So there is time to do that, and I think I will do it like this. So you select this whole edge loop around here. Then this ball of parts called free Maxime. And we can see how it works. You can see that this nicely like laid out here. And then I personally think I would separate them. So if you could also do the other side like this, then this is contrary mark seem on RAB. And here we just have separated this flap in the bottom, and this is essentially what is on top. So in Ebola we're not going to see we can like separate death with what we have inside. And this is what is on top. So that is essentially, let me show you. This, is this c. You can also see when I'm selecting, as you can see that there this debt part. So let's just do another one so you guys get familiar with it. Let's do this here. You can see that it is now it's still like all the way weird. So if I expand selection, you can see that it's still this circular form. So we are going to go into our edge select, I'm going to select this top edge loop. So we've all right-click, I'm sec, this whole edge loop that are just merges together here with this seem. Also do this on the other side. So I'm just clicked your Alt Shift. Enter, right-click. And let's go all the way over here. And then also this one hair concert, E, Mark sharp, mark scheme and you unwrap. And we have two of these like nicely laid out. That's the same here. Very, very nice. We have four of these flaps that are underneath. And this is going to be the most important. So let's lay out now what is most important for us is this one here. And these ones selected them then click on corn for plus to expand by selection and put us to decide. So these are, will be my most important ones and these will be still important. Of course, what we're like almost never going to see them unless you want to open the box, okay. If you want them to be like Franz's box to be openable, then you shoot, made this, give this a bigger space in our texture you feel map that we're gonna do right now. So I'm gonna make a smaller because I know we're not going to see it. And I'm gonna make these bad boys a little bit bigger. So just scale it up. And as you can see, there is a lot of UV space and left, we cannot really phil, Yeah, we could be able to fill it up here. So if we click plus, we could be able to fill it up. Once we also can do is we can still edit some more stuff in this UV map. So we could be able to really select this whole edge loop in the bottom all the way around concert e mark scheme. And then now we just have all squares as you can see, right? So this is also a way to do it. So now that we know that these are all squares, this is the insides are still, remember, then we have these four flaps which are goseq, move it outside and this is then everything which is important for us. So that would also be a way to do this. If you do it like this, be careful because you do have extra seems and you want to take that then notice, especially when you are going to create materials in substance Bader. Okay, so let's select all of these and give them a little bit a bigger place in your UV maps. This is going to be smaller, of course. So I'll put this one in here. These ones are important to me. I'll make these for sure, way bigger like this. And I would also like to make them straight. So we already know what that means, right? Scale 0, same here, same here, same pair. And then scale y is 0. Let's put the longest ones on the outside. Scale them up. And then just make sure that these were also fade in hair. So you scale them down a little bit. And as you can see, we quite filled up our YUV space a very nicely. We can even make this a little bit bigger if you want. But I'm totally fine with it for right now. 25. 3.6 Cardboard box: Baking: Okay, so now we're going to export the high polio and the low poly and bake our details on top. We do not have a lot of the details to bake it. We do not really have a lot of details to bake, so it won't be dead necessary, but like these corners are, I guess the most important. So this is the low poly, we have. How many protocols? We have phases trees, 460. That is not a lot. So let's go export OBJ and alliances, just create another folder. And here we're going to put in everything. So let's do guard warmth, box 70 depth. And here we're going to do our low poly. So a cardboard box, low poly. And we already know we already have put on the score lower on score high. For one model, it's not really necessary, but yeah, it's just out of doing it a lot and it's the going out the medically. So let's export it over j. Make sure you do only the selection because otherwise you get all this extra stuff and also don't do raw materials. Okay, so there's a folder. We only want to include our selection, so selection only, and we do not really need to write any materials. So turn that off. Expert over j. Now we can do our high, it's essentially the same. So exports OBJ. And this is going to be the, HI polly. We're going to do a selection only, but now we do want to apply on modifiers to keep that on explorative takes a bit longer. Ok, once in substance painter weekend, Start a New File, New. And we can open our low poly. So God port box locally. Okay? But now we can go to our detection sets settings here. And we can bake mesh maps. So here we just select our high pulling. And let's do the output size at like 2048. And bake mesh map. Click on okay. And if you do care, it looks quite decent. I do see a little bit of a problem here. And that is this part here. We can see that some of this cardboard gets projected onto a here, right? And that's not really what we want. It does happen automatically here though, because it intersects and you do not want that. By the way, that was a little bit my mistake, and I should have went more into my 3D model to make sure it doesn't go inside of each other. So if you have that, please go back to your low poly because you don't want that, okay. But for now, I just only want to show you the texture, so I'm okay with that. But to, to change this here when it's not touching IT charter or when it's not intersecting, then you can go to bake mesh maps. A can change the MX frontal distance and Mx rare. So what about we change some of these values? Let's do the max frontal distance a little bit lower. This is essentially when you have your normals and then in front of the normals will get like the amount of boxing around it will get smaller. Okay, so I'm just gonna put it at 0 for right now and let's see what happens. So right now I can already see a changed click on okay, and we do not have that problem anymore, except it probably is a little bit inside here, but I did put it totally at 0. You probably wanted a little bit higher, but let's escape it at this for right now. And you guys, yeah, you can see what that does. So you can play around with these values if it's like projects on top of the other one. So let's go on and that creates some materials. 26. 3.7 Cardboard box: Base color: Okay, so here we are inside substance painter and we are ready to start creating our materials. And as I already told you guys, this is not just going to be a very simple materials, we're just going to copy out of here. We're really gonna create something from stars. So how do we do this? Well, it is not that hard, but you have to know a few things. So when we look at a, let's look at a box for right now. One very important thing for you guys is to really get to understand what is in here. How can we recreate some of the scholars or shaders to get it into R 3D model and make it look realistic, what makes it pop? And the first thing that we see essentially is the base color, right? We have a color hair, which is a light brown, orange is like color. There's not a lot of saturation here, but yep, that's it. And if you look further, we can see that it does not only have a carpet material, this one even has some tape. Let's zoom in a little bit. I can see that this base color is not just one flat color. I can for sure see some noise in here, right? I see some different colors. I see some it's almost green, yellowish hair and it goes through a little bit lighter hair and where you have some dearth its hair, right? We even have some, it seems like Spain splitters here. So all of this will build up. I can even see some depth like these lines in here, which I will explain later on. Those also have a little bit of a depth in there. So we have some height maps or normal maps. And it seems very hard to really get started with a material. But you just kind of start with just the simple basics. So we're going to start with a normal base color. Normally, we will just throw in hair, a fill layer. In a fill layer, we already have a color, metal, rough and normal and a height, right? So this model doesn't have any mental illness. So the metallic, we'll say at 0 rights you can even turn it off if you want. We do have a roughness. It is not very noticeable, not as noticeable. S SR tape here that this super shiny but it is referred. So yeah, we have a certain amount of roughness, right? It goes more towards the one. And we have a normal map. But in this case not really, we will work with the height map in our case. So it is not only the same, but it will still get generated as a normal map when we export it. So let's just start with this color. What we would think is we're just going to go here a little bit to the Brown, yellowish orange, and the saturation a little bit lower. As summer around the hair. This could be our main color, right? So our base color with a lot of beginners, youths, You see this, this is just how they make it. But I personally do not really like that. I know there's way more color like fermions all over this. So what I personally did, yes, I go in substance painter. And you can see that this is just the first layer. This is my base call. If nothing else, all, everything is hidden except the folder, but that's just to hide the folder, right? So what does this do? Well, my base color, as you can already see, has a lot of variation in it. So my base texture is made out of a certain amount of color, right? I have a color in here, which is this one. And because I'm using a, in this case, a concrete simple material essay color, I could choose a grunge map, which will get dialed, and this breaks up my flat color. So I have a scale of the style, I have certain amount of tiling and I have a color which is Yeah, the, the main, the base color, let's say. So. You can see a huge difference between these two. This one already looks way more realistic, even though it still looks fake because it looks like we just copy our material the whole time, which essentially is also the case. But if we throw some more and more procedures on the hair, so more reflections, maybe a little bit of birth. The more and more we will build up on the hair, the less we will see this dial ability that we have a k. So let's also do that in our case, base color, we are just going to type here concrete and concrete simple. So we can see here in this concrete that we have yeah, it looks like concrete. And that's totally fine. But that's not really what we're going for. So first of all, I don't want any correction here that is not needed. And the dirtiness is also going to be at 0. So if you do this, dirty this up, we can see that dirt gets formed and thus are essentially these two colors that are down here. So the concrete color, what are we gonna do with it? Well, let's change it for a little bit. You can see that if we change this to the same color that we had before, so it's down here. A little bit lower. Something like this. We can see that the color gets way closer to what color we are looking for, right? You can even use this little tool and just drag it over and select that colour and doing them a second screen. That's why you saw the chains. But that is also an option. Second thing, second thing that we can do like we should look for is the tile ability or skill of our. Because a texture can make things look very big or very small. Let's say we're just doing bricks on the wall. If you want to make the wall look very big, then you make the tiles very small, right? Want to make the wall look very small, then of course the 1000 will be bigger. So those are ways to kind of manipulate the size of your textures. And in this case, you can go in here and put the scale up to whatever you want to. And now it might seem already a little bit more recognizable to you guys. So I'll put this to yeah, to nine. So having this base color were already show us many ways to make it look more realistic in with just a little bit of randomness in here. Instead of just one flat color. And even if we go down here, options, we can change some technical parameters if you would like to. So you can change the normal intensity. If you want some of the high details. I want to do that. The high height range you can change and you can play around with these if you would like to. It's not really needed to be honest. Sometimes I would like to add some filters or some levels. In this case, let's add some levels and we can play a little bit around with this range. So you can see that I can make it a little bit darker hair. And ICANN player rather this too. Yeah, it gets more towards the color that I want. So that is also an option to throw in some levels or 0V and fill their chin hair too blurry it out. Just right-click on it, you have levels and Harry F filters. The second thing that I saw is that we also have a lot of noise in hair. It seems like, what about we get another fill layer here? And we are only going to do the course. So let's hide all of this other stuff and just focus on the cola for right now. We can add a black mask and hair and a fill layer in this black mask. We can choose a noise. Let's just use noise Berlin. And we're gonna do a 2D one, this one. And you can see that we get this noise over on top. So here we can play around as well as before with these perimeters. What I first would like to just trace the scale. So let's put the scale a little bit up. Let's put it at 35. So this wide, it's just overwhelming right now, right? And what I'd like to do is go into normal and put this through overlay. And when you change the color slightly, you can see that the noise get less or more feasible. And you can of course, also put it through overlay and just play around with that overlay value. And having this nice base color, which is still quite simple in my opinion, will get us to the next part in which we are going to create some of these stripes. And I'm going to explain why they are there and how they, how we can create them. So I see you guys there. 27. 3.8 Cardboard box: Roughness: Okay, so before we're going to start creating these stripes in here, I think it's also very important to talk about the roughness map that we have. So right now it is, let's look in like against a light here. And we do not have any special roughness in here, right? So we have our base like color. We can even rename this base color or base coat, whatever. And we have our roughness a, you can change this, but this is very, very basic, so I am going to hide this one. And I'm going to add a new field layer above our noise. So Newfield Layer, and I'm only going to play around with our roughness. Okay? And the thing is, our roughness will build up over time anyways. And why is that? Well, let's say we do some third on top. Dirt has a different roughness then our you know, our base material has right. Water has a different roughness. So it depends what you put on top if there is a different roughness extra on top. So overall, it will build and build a build upon lends itself. But I think it's very important for you guys know the basics. So with this one, you could already start with a grunge map, like we did with the color. But sometimes it's nice to just start with a normal roughness like the material is probably like this amount of rough and this right, so points is 2.6 in this case. Ok. So what I wanna do now is I'm going to add another field layer. This is also going to be only the roughness. And in this roughness, I'm actually gonna put the roughness a little bit higher so you can see more shiny. And let's just over react a little bit. Let's just put it all the way here so we can see a clear, clear difference. I'm going to put a black mask and hair. And the black mask, we can choose multiple things, but let's add for right now at a fill layer, with the filled area, we can add a grunge map. You can just type in grunge here. And let's just use this one, which is it? The Grinch charcoal, doesn't really matter. Let's just put one. So here we can see a clear, clear difference between roughness and non roughness. Let's put us down a little bit. Okay, so what do we want to change here? Well, first of all, the roughness is of course very important. So you want to choose how rough or how shiny you want something to be that you want to be Dirty Dog which is probably less rough or do you want them to be like, let's say sticker on top or some fluid which will be still very shiny. So you can choose that. And I'm going to do a, I'm going to make it a little bit less rough. And then you can see like a little bit of contrast between that. I think that was really cool. And you can play around with this crunch map, of course. So you can change the scale and all that stuff, but it's very hard to see, right? So what I sometimes like to do is just get the colour in here just for the sake of only seeing where our roughness is going to be. Because the roughness ended like the color are both going to be at the same place because we are using a mask. So this mask, let's put this direct 2.5. tree. We can play around with the balance a little bit. Contrast if an there'd be more contrast between them or not. And brush better than I would not play too much around with. But there is also a option. One thing that you can see is that there is a clear divides between these. And how do we change? Said, Well, go for you few projection to try planar. Get rid of some of that. Yeah. So if this is all a little bit too much, you could always add another fill layer and here, so click, right-click on your black mask at a fill layer. And we're going to add, let's just do a simple cloud texture. So sort of grunge. Look for, for cloud here. And we're going to put this ad like multiply. Let's look what the multiply does. And we're gonna put this contrast a little bit up. And the balance. You can see that you can play around with this. And of course let's do the scale a little bit up, not too much. And this will also, as you can see, a chains your roughness. So now it's a little bit time to credit, gets rid of the color and really look at the Ross and said we have because the color of course, overpowers and little bit so you can't really see what is happening and you can see that a lot of it fell away. So now it is time to go back in those, in those values against like, maybe you want the clouds to work a little bit less. You can change this multiply option. Maybe you want it to be even less shiny, right? So those are ways to play around with this. And also very important, keep looking at your reference images. Right now we can hardly see any of these reflections. But you can always look up more of them, right? So now that we have debt, it's also very handy to put certain stuff or like NameNode correctly. Or if we have like four of these roughness maps on top of each other, you know, it'll just get too busy. So you could always add a folder, put these in here, and then you just call this a roughness or whatever. And it will stay in there and it will still act with your materials, right. 28. 3.9 Cardboard box: Corrugated stripes: So let's add another fill layer in here. And we are going to create the next little nice spot, and that is the stripes on here. So what are these stripes? If we look here, we can see if you've got a carpet open, that this is like kinda the inside of it. And these high and low points are essentially creating extra pressure on top of here. So when you are, let's say you're pushing this cardboard over a floor. Wherever there is a little bit more like fresh air hair that's for interval touched the floor earlier than this because this can still, particles still get bent inwards, right? And what you can see is your images that those spots will be like easier problem to get some dirtiness on them, right? And yet, so we also need to recreate this. It is nice to know what is inside of it so we know how it works. But yet, that's just how that works. And let's just focus on those first. So the one thing that I want to do is just create a black mask on this fill layer. And we are going to create a fill layer in this best man, black mask. And that is going to be a gradient. So that's got the gradient. And we're going to create a gradient linear two. Okay? So yet we see a bit of color differential, but yeah, that's kinda it. So let's put the styling all the way up. And here we can see some of these lines. Very, very cool. It's not big enough. So let's put the scale up to like 77 actually seems to work quite well. We can see that, yeah, it's kind of a squiggly. It could be a little bit because we are you fees are not totally straight, but we want to change it anyways. We want to put this projection to try planar projection. Okay. And now Substance painter and looks at it a little bit differently than just the fees. It lays it over the 3D object instead of overview fees. And that is the way that I would want it. So let's also put the rotation to 90. And here they go up and down, right? Sort of go vertical instead of horizontal. Very, very cool. Let me go look in front because it's a little bit more bright there. And what I want to do now is go into our color hair. And I want to change something. I don't want to work with the method of normal anything. I might want to do a little bit of high detail, but we can barely see it. And that is because I want this to be not just a color on top, right? It's not painted on top or anything. It's actually inside. And let's just look at my other image. You can see that with some of them, they were even a little bit brighter like lighter hair. And I wanted to recreate that. So how did I do that? I put this to a multiply. And you can see that we now have these lighter little edges. We can vary of this height map you want to bake it like are very, very minimal. And having this lighter is yeah, very nice. But I think it's like overdoing it a little bit so you can change this color and you can change it. So it's a little bit more towards the color that we want and it's littered with less and less noticeable. So this looks very cool in my opinion. You can see it a little bit, but not too much. And yeah, that's kinda it. So what you can also do a here is also add a, another fill layer with a cloud texture on top. Clout. Play around with this cloud texture. Makes sure it is multiplied by the way. And with this, we can kinda cut off some pieces. So sometimes it is like noticeable and sometimes it's like you can't really see it. Make sure you don't have too much contrast. And you also want this bad, like you don't want it to do too much, but it will create a little bit of a difference between those two colors and also reflection mapping stuff. So also if this roughness plays a little bit around with what you would want to, what you expect from it. So I hope you guys can see that building this up very slowly, layer by layer will create really realistic looking models. And in the next part, we of course, are going further into this. And yeah, I can't wait to see you guys there. 29. 3.10 Cardboard box: Dirt: Okay, so what are the dou f, This, we can still see this, like all these tiles, right? And we're already starting to get a little bit rate of fit with our reflections, which we still need, riff, our roughness that we have, but we are still working on that as well, right? We need to add some extra on top, but that's going to be fine. Second thing that we've gotta keep in mind is that we might want to add some depth to this, right? So how does this dirt get build up? Well, let's it also depends on how long a certain product is laying there. Let's say some other boxes we're standing on top of this. You know, you got to tried to get some references. In my final model, I looked for kind of a dirt layer with came from the bottom. So maybe this has been moved a lot around the floor or the floor was even a little bit wet, so it's soaked insides. And that was kinda what I was going for here. So I'm going back to that point. And we are just going to create a nice dirt layer. So let's create a nice fill layer. And we're only going to worry about the color and the roughness. If you have some dirt, it might be laying a little bit on top, which would essentially creates height, but it's so minimal so we can kinda negated. So let's color. We can do like a nice brown, little bit darker, something like this. And then the roughness, I'll do a little bit less rough, but the Southern ideas with quiet, yeah, work quite well. So here we're going to add a black mask. And in this black mask or we're going to put a dirt generator. So at generator, and it's going to be a dearth generator here. So this essentially just puts dirt in places where it would go. So in like underneath hair, right? So this is like a generator, which substance painters actually quite good in. But we want it to go from the bottom to the top right. So I put in another generator and is going to be a position generator here. So now we can position it. And I of course wanted to be inverted, so global inferred goes on. And now we can play around with this. So I'm going to put this essentially at multiply. So we still have the dirt, which we can yet changed. The crunchy amount of. Its still works with death, But then like the multiplier, so it only shows in these points, if you have this abnormal, You can see a huge difference. It doesn't really use the dirt underneath. It just adds a little dopa essentially. So that's why I use multiply m in this case. And here we can start changing our position and our dearth to fix what like to get to what, what needs. So yeah, the position you might want to change the balance a little bit. More dirt will rebuild deference way more clean up here. So that assumption you wanna keep in mind. And with the dirt, we can just add more or less dirt roads if we can play around with these levels that we want more. Do we want to be more or less contrast? You want to be a Grinch amount or do you want events gets changed the scale of the grunge? Yeah. All of this contributes to however, or how much dirt is laying on top of hair. Not only will this trace of color, but also the reflection a little bit. So as I've said before, like the roughness map, you keep also building it up and up and up with whatever we're putting there. I personally think I would like to change this color a little bit. Maybe a little bit more dark and E, a little bit more green, but not too much. But yet we can always play around with that. Of course. After this, I still think we don't have enough roughness in here. So I would like to add another fill layer with some only with some roughness. And we're going to add another black mask fill layer. And let's just add another grunge. Let's use none, a grunge right now. Granted, there scratched. Play a little bit around these and of course also the roughness. What Sandra's also helps is if you change your environment. So now we have panorama. We might want to change to this one. And you can see that the whole scene looks way different and yet will act different flights. So then you can see if this works in multiple lightings, Lighting settings. So yeah, I think we are quite getting there with our roughness maps were just very cool. And in the next part we're gonna do some, yeah, some actual dirt monks or even some wet spot, some watermarks. So I see you guys there. 30. 3.11 Cardboard box: Watermarks: Watermarks. So we're going to create some extra mano marks in here. Very goal. And I think we should just make instantly a new folder called watermarks for water spots, whatever you want. And we're going to create a nice fill layer in here. Volume, change the color. I'm just gonna do a nice brown. Let me just select this here, bam. And another one to play around with the methyl normal rawhide. I just wanted the roughness a little bit and it's time for us to create a black mask. So I'm going to create a fill layer. In this fill layer we're going to use a cloud texture. That's two clouds to, let's put the balance a little bit lower. And we are essentially trying to recreate some of these wet spots right here. The one thing that you can see that it is darker, also has a little bit of a different color. But yet, and we have different kinds, you like we have these here. We are, which we are going to recreate with like the cloud texture. Or we can even booth our owns on the hair with also if I'm paint on them ourselves. So let's do that. Let's start with the clouds. So after that, I like to put a Levels in here just so I can like chains, like I have a little bit more contrast between it. Because you can see that there is a quiet like deep contrast between the dry and the wet. It also depends how long it has been wet because this one has been slowly seeping in. But there's these wet spots. It seems like there's a clear contrast between them. So they'll depends. So just look at your reference images. Yeah, I like to do it with depth and then I like them to be more on the bottom. So I'm going to add another position in here, which is a generator position, and also infer this. Infer this, and make sure this is a multiply. Remember, yes. And here we can play around with this balance, of course, if we would like to. So, yeah, that's kind of how you create that. You should just still keep playing around the fifth to like really create them. Like really good. Lets say. You can play around with contrast levels. Maybe you want them to be even more like deep color or even like the contrast between the malaria with harsher, you should really play around with those values with death. But that is one of the ways that I like to do this. And let's also show the other way, which is essentially just add another field layer, only the color and a roughness. And let's just use the same color as before and the roughness worse around here. Here we're going to add a black mask and now a paint layer. So if the panes, we can create our own textures, riots, we can just paint on our map and we'll end up also in our YOU fees, as you can see. So here you can change, alter your brushes or even your all foss. And let's look at it all foss and we have do we have anything with water? If we go down, we have some brush, sponge sponge dance. So I guess the Spanish ones look very much like a water spot. So I'm going to select this one. And you can see that if I selected, it's automatically edit in my alpha. If this is not the case with you, just go to your alpha here and just slide it in the alpha, okay? And now you can literally just Bain on top so you can change the size here and you can just click here and we can create our dirty, dirty water spot. So the nice thing about doing this insides your mask is that you can still change this color, right? So if we can shift still changed a little bit to our liking. So I, I really like to use everything in masks. So yeah, we've control. If you hold control and just move, you can rotate this brush around. We can even slide some other alphas in here. So this one also looks very cool. Here. We can scale it up with control and under the scroll, like Mao's bottom of contour, a scroll wheel. We can scroll up or down. We can of course also just do it in hair, right? So we can add some extra yet dirt on hair. So those are some of the ways that I like to add or dirt or even watermarks or whatever you want to add on top. And the next part we're going to talk a bit more about the causes we can create, which here we can see here on the side or even some of the steak is that we can put on like this. So yeah, I see you guys there. 31. 3.12 Cardboard box: Decals: Okay, so this might seem a little bit different for you guys. As you can see, some layers have been changed. That is because I accidentally saved over another file that we are using. So yeah, I kind of lost that, but it's essentially the same as less as the watermarks as you can see here. And, um, yeah, that's kind of it. So let's go on through RD calls. And I have a folder here. And we can see that these three here are the most important. I am going to select them and just move them inside here and we're going to use them. Okay? So this is going to be the alpha, is going to be a texture and the other one with the weird name, which I'm still gonna change, is also going to be a texture. Texture you will see on the score texture, we're going to import it into only this project's import. And here they are. So venue just add a layer. We can add a De Gaulle, right? So as you see, I already tried a little bit. Let me delete these alphas. And when we put our, let's start with these arrows. And we put that into the base color. We can start painting them, but we only want the cola. Okay. So you can put these other ones off. And this all fall normally would be this shape. And you can see that it cuts off, right? That is because the alpha works in that way, right? You can see that it's very soft. And that's why we only see this middle bit, the bit and puts his heart was all the way up. You can see that still start like parts get cut off. This is not what we want in this case. That is most of the time by we create specific alphas for certain a texture. So we have like this label f and all five next to it. And let me delete this alpha. And you can see that we have everything which is cool. But if I put my roughness up right now, you will see that wherever I paint, that, not only our arrows are getting the roughness, but everything around it, which is essentially this whole texture map around it. And that is kind of the downfall when you're not using any all fos or are not using any masks. But if we are only using the color, which in this case it is, we can still use this very simply and easily. Okay, so we can just put the size a little bit down. Copenhagen hair. If you put this, by the way, in a paint layer. So at banes, forbidden hair, and then you can still use all the filters, right? So we can use a filter here. We can blur it out if you want or change the colors. Yeah, that's all possible. We can even go right-click, create a mask, right-click again at a fill layer. And let's just do a cloud texture. And let's put this contrast a little bit higher. You can see that here we get like a bit of a warm detail, right? So that could be in your interest. Let me show you what happens when you actually do use and alpha. So we're gonna create a new layer. And layer. This is going to be the base color. And then as alpha, we're going to use the offer that I've created from this base color. And by the way, this you can learn in our extra section. Yeah, it's called the Gauls. I think I will name a debt or stickers. But yeah, that's it. That's the size of it up. And now we can actually play around with all of the materials section. So Kohler, but maybe you also on the roughness and a height. So photos hide to work though, I'd recommend first looking here, we can see that it goes inverts both we are also using all of these like high to layers that we have underneath here, right? So you can see these stripes underneath. That could look cool, but in this case I do not want that. So what we're going to do is normally set the base color, but if you put this two height, we're gonna change the height. Instead of a Linear Dodge. We're gonna move it to a. We can use it, we can use best true or normal. Let's look best through for right now. And you can see that it ignores F3, which is underneath here. So now the only thing you have to do is change this HIV through whatever detail you want. So here seems okay. It's a little bit, but not too much. And yeah, and is ignoring everything underneath. So that is how I like to do this. Like just uses the best through or maybe even normal. It will ignore what, whatever is underneath. Very, very cool. So you can do this for everything. By the way, you can do this for the base color, roughness like everything. So that is that. So let's also create a mask, hair black mask. We're gonna fill layer and let's use do a clouds again. And here we can also chains. That is, it seems a little bit ripped off, right? Very cool. Let's do it around here. I'm going to put the contrast a little bit lower. Yes. So very, very cool. And what we have to keep in mind though, is if a sticker gets rip off, it depends a bit, but most of time underneath will not really stayed the same at all. The thirds will get attached to the stickiness that still underneath, right, the glue. So let's create a glue. Let's first change this name to barcode. Then create a fill layer. It's going to be underneath the barcode. And what we're going to deal with this is I'm going to hide everything except the color and the roughness. Then we choose a nice blue color, which is going to be, we're going to make it a little bit green, but I want this, this base color to be a foot away lower anyways, like IF opacity way lower and the roughness, Yeah, we can change that also a little bit. Now, create a black mask. And we're just going to paint where we want effort devo. So add up paint layer instead of a field layer. And let's just do that. Just paint wherever we want. And here we have our glue so you can still change this normal a bit more up or down. But yes, so that is kind of how I do these decals. And the next part, let's go on and actually start talking about some of the high titers of we might add in hair to make it look more realistic. I see you guys there. 32. 3.13 Cardboard box: Height detail: Okay, let's talk a little bit about height details. So if we look here, it looks yeah, we're getting closer and closer, right to a nice enter sold. And what about the explains that if you look at some of our reference images which we had before, you can see that it's not like a perfect looking cardboard, right? You might have some of these wrinkles as you can see here. And you can add them quite easily and simply through your model. So we can literally just paint on some normal maps. And what you can look up is you can just go into Google, look-up crinkles or wrinkles and maybe you can look for, this is apparently does look delicious, but the thin foil, let's look at that crinkles tinfoil and, or even paper instead of tin foil. And look at the vapor. And these wrinkles that we have in here we can actually use. So let's donald This one for right now. But let's say if this, so we're just gonna say fifth as paper. And now we go into Google again and look up normal map online. So this top one, the normal map online, GitHub dots CPE, CRI is essentially a normal map creator. It also creates automatic like a Displays with map and with occlusion and specular. But we're only going to use the normal for right now. And as it says here, click on drop. You can literally just a grep your paper and drop it in here. And you can see that our paper gets a normal map. We also displays with map I'm near the collusion and a specular. So in the top here you can see strength level blurs sharp. We can infer the earth, and we have a sort of a filter. And we can change all of these to make our normal map look more like the way that we wanted to. And here we have a 3D preview. So we have this 3D preview. We have an automatic rotation on which it can, of course turn off. You can change the model that you want. You can do it through a plane. Maybe that works a little bit better. In this case. We can load a diffuse in here. Displacement is turned on. I would like to turn it off. I just want to see only our normal map. And then we have normal A0 and specular. So I'm okay with those ones. And now we can choose how much we want this to work. So now we got to Ghana, go back through our images and see like what for sort of the dual will need. And I think the detail is quite ok. It just needs a little bit less. So maybe we put the level a little bit higher in this case. And yeah, when you're happy with this, the only thing you have to do is give this a nice name. So vapor, bring goal or anything like that, and then just download it. And if you want the data of the displacements, you gotta first click on displacement and done download or you can click on All, and it will download all of these maps. So this is very, very easy and if you liked it and if you're going to use the loyalty can also donated these guys. I just want to show that. And let's go on and grab our paper wrinkle. So here is our normal map. And what we can do is we can just slide this normal map inside substance painter. So go here, slided in. Let's add it as a texture. And then just into our project, click on Import. And here it is. So now what I would like to do is just create another layer. So add layer. I'm gonna rename this as high detail. And now I'm going to hide everything except the normal. And we can literally just paint on here now so we can change, of course, our brush size and all that. And we campaigned on hair. So right now we did not select our paper Ringo, because it's just all the way purple. So let's go into our normal and slide our paper in there. And here you have your detail as you can see. So if I click now you can see that a lot of our detail just goes on top of our box, which is awesome. Right? And yeah, you can place it wherever you want. You can make it smaller or bigger. You can make more normal maps as well. I also had one with just the stripes and I can show that also to you, of course. Like a fairly simple one. Yes, do so just look at what for images you have and what you can see, and you can create those details very easily and very quickly. We inside substance painter. So the next part, we can just export everything and then put it into Unity. So I see you guys there. 33. 3.14 Cardboard box: Cardboard side: Okay, so as less as we look at books, as you can see that we're missing something on the sides, right? So how do we get that detail on top of this plane here? Well, first of all, you got to remember that the planes has been made. We got them separate so that we could give them a big place in our UV maps. And this means that we can go into smaller and smaller detail there. This is why I created an alpha map and I've tried to fuse things. As you can see, I tried this displacement, this one, I even went over to color. And the best one that seems to work, it's just if you grab this one here, you put it inside your scene and we can just go here, put it as an alpha, and we put this in our project, so import it. And here it is. So if we just create a new, Let's do a fill layer. And we're only going to do the pseudo color, roughness and the height. Now we can do the color, we can make it like a darker brown or even a black colour. And the roughness we can put it a little bit lower. I will do maybe even all the way at one and the height. We can also change it a little bit. So I'm gonna put a little bit here, we will see later what it actually does. Then I'm going to get a black mask in here. And then right-click on the black mask and we're going to do an add paint. So wherever I paid Now you can see that this color, depth and roughness ends up right? So instead of just being this normal alpha shape, we're going to put this displacement shape in here. Very cool. So if it's the wrong side on yours, you can just change this great skills so you can change through 0, then it works like the other way around that say. So migrate skill now is at one which totally white. And now wherever I paint, you can see that all of this detail ends up. And this is very, very cool because if you do something wrong, let's say in this mask. So let me just finish this up a little bit. I'm just going to put one here and one here. So let's say something goes weird like this here. The thing that you can do is you can just change your alpha. We can go back to it's called shape. Here, just the normal shape. We can paint in here. But you can see that we need to chase a grayscale to black. And this is kinda making our map black again. So then you delete whatever you've painted and those points. And then you can just get it back by going through this place. This alpha back in here. Make sure it's the right grayscale and you can just paint over it again, right? Bam. So this is very, very powerful. And the nice thing about this all being in a mask is that you can still change this. So let's say solving stupid lead, it's red or it is deeper, right? You can all change that inside here. Maybe we want a very shiny, Of course we do not want this, but you can see that we can still change the whole like fill layer itself. So that is how I created this. I hope you guys learned from it and I'll see you guys when we're going to export this. 34. 3.15 Cardboard box: Unity: Okay, so let's export this. And the other thing that we have to do is go File, Export textures and look here for the right one. So in the last, in the last part, I showed you that we used the unity a preset. But actually we can also use a PBR. So what is PBR? We can use the PBR metal rough, physically-based rendering. And so this is essentially what we need, right? And also physically, unity also works a physically-based rendering, so we can easily use this. So go through exports. We can choose wherever you wanted to export. So I just make a new folder. Textures. Go in here, select the folder. And then PBR, metal rough, and we can start to export it. We can open a folder and here everything shows. So now when you're into unity, you can of course create some new folders here. So create folder models and textures. Let's import our low poly. Nobody goes into the models and textures and go all of our just created textures. Then just slide in our cardboard box. Here. Let me zoom in a little bit on it. And we're gonna go to a textures, do that. First. The albedo will go here into inspect. And some of my maps already put in here, but otherwise just put them in yourself. Metallic is our normal map. But where does our like roughness map go into? Well, if you go instead of shade US standards, we can change the standards to standards roughness setup. And now we have an option to put the roughness also in here. So here we can just pop in our roughness. Awesome. So this is essentially how will you have to do this? And I hope you guys learned a lot from this. And I will see you guys in the next part. 35. 4.1 Chair: Introduction: Okay, so this is going to be our second model, right? And this is kinda be actually two models in once we're kinda gonna make like a little set, it's going to be a chair and a desk. These are from school. I remember sitting on these and they were horrible to sit on. And yes, so we're just going to start off with the chair and extra gonna make the desk. But let me explain a little bit about my thought pattern because you can see we have two different kinds of desks. Maybe even three should look down here. And yeah, so the chair itself is quite, you know, the pictures explain themselves. They are just the same. We're just going to recreate this what we can see. But with the with the desk, we're gonna change a little bit. And what we're gonna do is, I really like this one here. But let me hide this little desk. You can see that the bottom is just doesn't fit with our chair that we have there like match together, i node like that anyways. So what we're going to do is I really like this top part. So we're going to create the top, but then we're gonna put legs underneath like this one. And yes. So then we see two more pictures and this one and this and what you can see here is stuff that really reminds me of school and of these old things is that, you know, whatever, like a lot of writings on it and even different kinds. So I also have it in my reference images. So as you can see here, if we zoom a little bit in, we can see that there are different kinds of writings. We have these fifth ballpoint pens that are almost carved into the wood material. You know, you have to car for lots to get at colour in there. And you have these which are more of those color. We call them stiff, stiffer, stiffer than but it's probably just a color pen. I'm not sure what the English name for that is. But yeah, those do not have any depth, but they look a bit different ends vertical and you also, you know, when there are longtime on the table, you'll get these which are faded along. What I also like a lot is the stickers here. Some of them are a little bit ripped off. Yet just a little bit randomness and it makes them look a really old. Because those things, yeah, we used to do when we were bored. Right? So I already went into substance painter and played a little bit around if our materials and as you can see here, we can already get fairly close to the yeah, the the stuff that we need. So I have some of these ballpoint pens here which are carved in. I tried a little bit of a bigger bubble with Ben, and we just need to adjust it to the models that we are making. I also tried the scholar stiffness. One is submitted more faded one is just still a little bit more clear. And even a sticker on here, which has a different reflection as you can see. So you see, so a very, very cool and I really think we can make this awesome because this, you know, this sticker is even rip off. We can make that very easily with just a nice mask with a grant on it. And yes. So and I'm sure you guys will learn a lot. I hope you are also looking forward to it. So let's just get into it and make some awesome and make some awesome models. I see you guys there. 36. 4.2 Chair: Shapes: And what we wanna do is we want to look at at least the different models that we are going to make. So we have this wooden part here and this wouldn't path. So those are two which essentially are not too hard to make you do. You are able to see here though that where you're going to sit as a little bit, it's like a circle that is a little bit deeper. So keep that in mind. We're gonna make that, but the overall shape is not too hard, is essentially it is kind of a square, right? And we're just going to model something extra on top or even stretch some of these vertices that will be here. In order to make it like this, we can stretch these vertices a little bit higher, some of them a little bit higher, and that will create this elongated. The former top. Same will be here. We just need to be same here in the bottom. It's essentially just a long plane. And yet then this part goes a little bit down whether there is a curvature. So that's kind of how are we gonna make those? So that this, these red parts are probably be something like this, right? And then add some extra vertices down here. So, yeah, that's just a little rough sketch up of how we're gonna make those. But if we look here, we have the steel pipes, I guess what they are, right? So they are cylindrical as we can see, and yet they have a certain shape. And then these two are like merged together. I'm not sure if you can see a nice image of death, but here in the bottom also through are going around and they are merged together with the side ones. And yet as essentially it and also on top and on the bottom that probably have like a little cap. So if we zoom in a little bit in, it's hard to see. But they probably have a little cap here on top and also in the bottom so they don't damage the floor. We are able to see that that has some of these screws or nails, right? But we're gonna do that all in a material and we don't, do not really need to model them. So yeah, that's essentially how are we going to model this? And let me show you a little bit of how I personally like to create these pipes or tubes, because it can be quite frustrating to create them, right? So as a beginner, what I first thought that I would do is get the same shape as we can see. So we just get a cylinder and then we move this cylinder to a certain point, so that say here, and then we need to rotate it extra, rotate, extra, rotate x root. And this works. But yeah, it's time consuming to get it really right. And also it's, as you can see here, because we are rotating it and then moving it just a little bit to the right. We have some problems with getting the right size overall. So how would I personally do this? Well, I personally already know that with curves, we can already create a cylinder around it. So if we have a curve, and let's just do the BJ curve busier. I'm not sure how to name that. And if we have this curve, we can move these around, right? So we can, with the middle one, you move the cursor around. You can also rotate it. You can even scale it up or down. And you can see that this curve here, which is the black line with these arrows, which are the arrows just points towards the direction. But those will get changed with the skill. And you also have the option to select these outer two dots and what they will do. Well, you can see what they do with the curve, right? So we can also make them smaller or bigger. And whatever. We can select this middle one and extrude extra lines out of here. And you can see that the curve Kanak continues, right? So let me delete that fantasy for right now. Let's focus on this curve. When you have a curve, you have an extra option here, which is called object data properties. And with the curve options, Those are different than, let's say with just the normal model. And what you can do here, you can go to geometry and you can bevel it so you can give it a depth. And what you can see here is we instantly create a nice tube, tube shape. Let's say. What you can do also is you can change the resolution. So these are essentially the amount of vertices that they have. So you can go lower to like a hexagon local shape, or higher to more and more vertices. So we need to play around with those. Yes, and we can also extrude an offset them, but but we're not going to play around with those options. So having those options is very, very handy for us because now we can literally just create the shapes that we can see. So this is a very, very cool. But if I go to top, these are of course not vertices or anything like that. So what we need to do, we need to convert this. And if you select your curve, then go to object comfort to and we're going to convert a mesh from a curve metta or about law, but from a curve, right? So if you click on that and click noun tab, you can see that we literally created the geometry. So this is kind of the way that I will do it. And I think you guys probably agree that this is one of the best ways to do it. It's quick. We can adjust it easily and it gives great, great results. So why not? Having this explained will just get us into the next part. And I hope to see you guys there and we're going to create the chair. So I'll see you guys there. 37. 4.3 Chair: Blockout frame: It is time for us to model our chair. You might be thinking like, oh, how do I start this off? Well, there is a fundamental technique and that is just uploading these images into Blender. And then we already kind of know where we should place these, like the legs of the chair and how far we should place them apart. I personally do like that. You guys are figuring it out yourselves from just looking at images. But I do get that sometimes, you know, if we have so many images, why not use them, right? So what we're going to do is I made two images for you guys. And that is the back view and the side view. And what we're gonna do is we're going to put them inside blender. So I do recommend you already going to that particular view. So let's say I put it in right now. You can see that, you know, it just is rotated and doesn't really, it doesn't really do any good for us. So what I want to do is I want to click on three on our non path, which is the side view. Then slide the side view in here. So now it is like, like so now let's like perfect in the middle, right? Without any rotations, we still want to move it down here, but that is totally fine. So we can easily do that when we just do the y and the z axis here. And we can always just move it wherever we want. Because as you can see, the perspective on this picture is also a bit off. So we just want to see like the main shapes. Ok, so for our second view, which is going to be the back view, we need to click on Control one. What if you'd just normally click on one? It will be the front view control one. It'll be the backfill. It's the same with tree, which will be the side few contour tree will be like the other side. Okay, so control one and then which row in our backfill and just boot dislocations 200. And yes. So what I'd like to do here is I'm going to delete this main queue and just going to get a curve in here. So let's just do a base year. And where is it? Here? And I'm just going to rotate it 90 degrees around this axis. Let me show you guys and then rotate it for 90 degrees around the z-axis. So it just flat like this. Then let me get my images back here. And here we have our images. So this one is obviously not where we want it. But let's first put a little bit of a extrusion on our curve. So we're just gonna do the depth a little bit higher, just so we can see where it is. So both of these chairs are quite important and you need to kinda match everything up so it fits both sides. So what I'd like to do is I like to match it up with the back view first. Let's just put it here. And then I'm going to grab the side view and just move it. Down. And we can obviously see that. One thing that is not really working as this perspective, but we're only focusing on the shape. And we can always change the size a little bit on these. So let's move the shape a little bit around here. And I'm just going to extrude an extra part here. Just keep this one straight. It doesn't really have to match up the picture underneath. Anyways, let's look at our beck phew. I can't see anything and that is because it's one front. So I'm literally just going to move my back few around the y-axis. Just so I can see is and yeah, well, we do not really have to put it all the way down as you can see here. I just wanted to be in the right place and to just have like a little bit of a feeling of how this is gonna work. So I'm going to move this one a little bit to the left. Why do I do this? It's because I want to mirror this over. So if we go here to the mirror modifier, we can literally just a mirror this over. And we can see that it does mirror, but it mirrors are rounded this origin, and the origin is not really where I would like to have it. So if I move this Beck and let's say I want this origin to be at this selection where we have it right now, you just have to click on Shift S cursor to select it. And you can see the cursor goes towards that vertex that you've selected and then go out of edit mode. So top object set, origin and origin to 3D cursor. So now it's a barrier in place. So they seemed to be a lot closer to each other. And let me pull them a bit together. I think I like the way this right now is perspective is probably going to mess with it anyways. So I'm just going to keep it at the, at this spot. And yes, so there we have created this very simple lag, let's say, right? So what more do we have? We have this thing on top, and you can duplicate this, but I will just start totally over and it's just great Anubis Jerry. And we're going to rotate this of course. So I'm going to rotate it around the z axis for 90 degrees. And I wanted to be, let me hide this so you can actually see it. And I wanted to be like flat this way, so I'm going to rotate it around the y axis also for 90 degrees. And that seems to be OK. We can unhide our images. And let's just focus on it right now, gone through our side view. And I'm gonna give this a little bit of a deaf. So go into the Bethel and move it up. We're going to do the same many ways later on, but let's just do it like this first, rotate this straight and kinda hide our other leg. And the extra that. And this part we're going to move hair on top. Awesome is move them a little bit in place. And we want like. We want this one to be straight rather remember, so if I scale this up, try to straighten them a little bit out. And then you scale down again. And that seems to be nice and straight. Very, very cool. So here we have our first one and then a second one. If you go to the back view, we can probably see that this one here needs to go a little bit more inwards. So we're gonna move it here. And yeah, that's it. So right now these images are kind of, you know, we don't really need them anymore. I'm going to delete them. And then we have this left. So let's make them both the same depth. So 0. Let's try seven a little bit thicker. And also for this 1.07, if this is too thick, we can still change it. I'm not gone on make them any like into a mesh yet, but we always have the option to do that. So what do we do after we have this? Well, we also need them on the other side. And remember, so we're literally going to select this and then mirror them. But now we want to mirror them around the middle. But how do we do that? Well, what I'd like to do in this case, I'd like to just click on shift c, and this makes my 3D cursor snap back to the middle. Then I'm going to click on shift a and create a cube. Like this cube. We do not really have to see, but what we can do is when we select this, we can click on mirror object and we can select the Cube. So now it gets mirrored around the origin of this cube. And because reboots the cube perfectly in the middle, it will be perfectly in the middle. Gonna go the same for this one. So mirror this again, volume are going to be around the cube. And there we have it. Very, very cool. So the only thing that we need now is two of these pipes, like in a middle connected to these legs. Am you can do that either way. I'm just going to create a cylinder, rotating this for 90 degrees. Skill a bit down, skilled around the y axis and just tried to find the good depth. It's going to be, I think it is welded against this one. If we look good, we can see that it is welded against this one here underneath. So let's move it into place, probably around here. And something around here will be great. So now we also need to mirror this one. But if we mirrored around the cube, so let's do it. Mirror or on the cube. You can see that. And on the y-axis, of course, you can see that it doesn't really work, right? And that's because the cube has a different length than these have. So we're actually instead of the cube, we are going to mirror it around this. And this name is still Beziers curve. Let's rename n two chair legs. And these will be, And let's rename these to chair, chair frame. And we can also rename these by the way, this can be chair wealth. I don't know. It doesn't really matter, just as long as you know it. So instead of the cube, we're actually going to do with around the chair legs. And then it will be the x axis, I think in this case. And that's just because we have rotated it. That's what x are different. And we can see that we get the result that we are looking for. So awesome, awesome, awesome. The only thing that we have to do is we might need to change this a little bit, which is totally fine, but we can already start creating our wooden parts and we're gonna do that in the next part. See you guys there. Make sure you save this. 38. 4.4 Chair: Wood backplate: Okay, so let's start creating this top part first. What we know about it is that it has a little bit of a curvature. So let me, getting up Bain tools back in here. We can see that it has this nice curve on top and it goes down and it is quite flat on the bottom, right. So that is quite obvious to us. But if you look at the side view, we can see that there is also a curvature in here. And this is quite normal with chairs. And I am so terrible drawing with a mouse. But what it does is like your back false, a bit nicer in there instead of just being super flat. So keep that in mind while creating this. Also what we can see here is that the size is like literally the same as the width of these tubes that we just made, these pipes. So it's literally just that length. So keep that in mind. And that's kinda it also it is still the backwards, but yeah, that's normal that we already have done that here in our chairs it themselves. So let's go here. I like to go in my back few, create a plane rotated around the x-axis. Skill a bit up, so it has the same size here. And then let's go around the z axis a bit. That's who've Luke, how like how much of opening we have here. Keep in mind that also the like the thing on top pair will also have a thickness. So there will be like a wooden plate on top as you remember where we sit on. So we have quite a high opening actually. And I think we need to maybe even change our model a little bit. Let's look around this. This won't be too bad. I think it's a bit lower Gy. Okay, let's give it up for this, for right now, we can always change some stuff, right? So we're going to rotate it so it lays nice and flat on hair. Then if we look at our model again, we can see that we have some overlap. So from here, like this is all like this part goes all over it. Like this part goes all over it. And then it's like almost half of it is really attached to the the chair itself. I think 1 third will be sticking outside. So we're I think we're good right now actually. Maybe a little bit lower, but that the should be if then we can create some edge loops. I'm just gonna do five. And then these ones are going to be lower. And how I like to lower them is not just do g, but if you click two times on G, G, G, then it would move around the edges which are attached to. So, yeah, that's very handy to do in this case. So g, g, And you can see that the lyric just move around like this. Make sure you follow your images again. So how rotation, something like this should be good, GG. And then of course, these are Well. So a nice fluid change in here. Very cool. And then I remember what I said. It goes inverts. So now we just need to move these. So I'm going through the top view and then GY and just create a little bit of depth in this g, y, d, y. Remember this is for our BEC. So very cool. I can move them a little bit forward if a 13x, and now we do want a certain amount of thickness own hair. So if I go here into the modifiers, we can go to our solidify biennium. And I want to solidify it this way and then move it together. So they're still attached to each other. And this actually lets look at the thickness that we need. I think we are required, well, we're doing with the thickness like this should be the right amount of thickness that we have. Very cool. We can go to our Bevel and we want to bevel it about a angle. So let's do angle and we can play around with this angle. But before I want to do that, I want to apply the scale. So on a scale and now play around with this bef, okay? So the width is going to be a little bit smaller. So for like this and of course, a sub deficient surface after all of this. And here we have a good representation of our chair. If we look back, we can maybe see some differences and that we might want to change. I'm gonna put it on my second screen just so it can look a little bit better at it. Yeah, I do think that these corners are not really the way that I want them. They seem to be more curved in our final products. And what I mean with that is, if you look here, they look quite square still. And if you look here, you can see that they are way more nice and smooth white. So that this has to do with the Bethel that were making it. And we're going to change that. So I'm going to apply the solidifying modifier. And then I'm going to Bethel these myself. So just select all of these edges I am going to do to actually enact this one, this one. And then on the other side, going to be and you can choose how many. I want. I'm going to scroll a little bit off as you can see. And then, yeah, this should be good. And now you can see some of these artifacts here. We do not want them because these phases are now n guns. And as I told you guys already, we do not want any guns. If you forgot what they are. And there are more than four vertices on this face