Create a stylized sword using blender 3D | David Jaasma | Skillshare

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Create a stylized sword using blender 3D

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

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

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

13 Lessons (1h 52m)
    • 1. Introduction video stylised sword

      1:06
    • 2. Examine the concept art.

      7:14
    • 3. 3D model the sword blade

      7:15
    • 4. 3D model the sword handle - part 1

      4:10
    • 5. 3D model the sword handle - part 2

      4:12
    • 6. 3D model the sword handle - part 3

      4:00
    • 7. 3D model the cloth/fabric

      8:10
    • 8. Finalizing the sword

      13:05
    • 9. UV unwrapping

      17:02
    • 10. Combine UV maps

      10:49
    • 11. Stylized texturing workflow

      13:41
    • 12. Texture painting the sword

      12:16
    • 13. Assignment + rendering the sword

      8:46
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About This Class

In this course, you will create a 3D low poly stylized sword in Blender.

Creating 3D art that stands out is more than just creating a complex 3D model. With in-depth knowledge about textures, you can create amazing 3D art using low polygonal 3D models. These models can be used for games, animation, and much more. 

To enjoy this class, basic knowledge of blender is helpful, but the course is designed for beginners so the tasks will be simple and are explained in video and audio.

Requirements:

A computer with blender installed (blender can be any version but I am using version: 2.93)

Optional:

A drawing tablet (I am using the wacom intuos pro medium)

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David Jaasma

3D enthousiast and ofcourse teacher.

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Transcripts

1. Introduction video stylised sword: Hi, I end up from 3D skull. And today you will learn how to create a 3D model from a concept, just one single concept art mixed with Blender. And this class will be your guide to create a stylized, low poly 3D model that you can use in animation or games or whatever you please. There are so many different styles available in the world, and that is very exciting. But for this class, I chose a particular style, what just involves a low polygon or 3D model and one texture map. Because of the simple but very effective style, even beginners can just jump straight into this class. As a beginner, you will learn how to create a 3D model from scratch. And we use, of course, the concept art as kind of our baseline. We will make sure that the 3D model is low polygonal model and we're going to UV unwrap it so we finally can texture it with the texture painting. You will learn how to create a detailed and interesting texture map. For this class, you only need a computer with Blender installed, but I highly suggest you also grab your drawing tablets because it can come in very handy when THE painting, I see you guys in the class. 2. Examine the concept art.: Welcome everyone. We are going to create this awesome Swartz and back-of-house that is actually the creator of this concept art. I will leave this link down in the description below. This is just an art station. You can find her there and you can download this image. I cannot provide it myself because it is of course not my image, but we can make a 3D model out of it. Now, we are here inside Photoshop. So why do we want to be in Photoshop? Well, I always like to first put my model or reference images in Photoshop and kinda see where my topology and geometry is going to be. This often saved me so much time to actually first look at your model before you're just instantly start modelling. That I also really highly suggest you guys doing it because it saves you so much time. Now, create a new layer above it. And I'm going to use just a normal pencil and make it all the way read, or at least a color that you will notice. Now, what we're gonna do is we're going to just go a round where our geometry will be. So the first thing that we know is that this will of course be around here, this whole edge. Now I'm not really good at drawing, but I'm doing my best. And here as well. Now, same happens here. Ever just on the blade for right now. Okay, So it's just all the way around the blade here and then on the way around here. So we for sure know that, yeah, our geometry is going to end up here because this is the edge of the model. Now, if we look further into a model, we can see that there is a little line here which will be very handy to create an edge here, right? And this edge matches up with this darker color. In we only see one side of this fort, but we know that this part here is going to be sharp and this part will be not sharp, right? So around here, this line that is shown, this would probably be a good cutoff point for our geometry because here it starts to dip in, right? Because this is the sharp part. Now is also goes around all the way over here and here as well. So if we look at this as one model, we can see that this is just our blade is going to look like this. Now, of course, when we create our geometry, we have more of these phases in here, right? And we don't really have to draw them all, okay, we kinda know how that works, but it will be handy to look at despots, right? So how do we are going to connect that? Are we going to connect it up here? In high poly models, I would say, don't do it because you will create a weird pole in this section and it just kinda mess around with your topology, right? So firstly, I think I will put it here so our topology can continue. And I will make a whole course actually about topology, but it essentially makes the flow of your geometry work better. So we can kinda keep this flow here. And it doesn't mess up with the shading later on in your model. Okay? So if we look at this, we can see that we can create yeah, quite decent topology. And we want to keep quotes, okay, So at 1, we do need to create a poll. Maybe we'll do it on a flat part because false on flat parts are not that bad. So something like this, good work. And here we have a quad, quad, quad, quad co-ops. We do have a poll here which essentially file for more, yeah, edges connected to each other. But because it is flat, it doesn't really matter too much. And later on, Yeah, this is going to be all triangles anyways, right? So keep it as low poly as possible. But this could work great. Okay, so we could have a nice edge loop here if we want to make a high poly. But in this course we don't really need to create a high quality and low poly because often the low poly will be enough, especially in STI, in this kind of style because we're just going to do everything with painting, okay? But I just want to show you guys that there are multiple ways to actually do this. So this is going to be our blade. Then we also have our handle here, and a handle is a little bit different. But what you can see here is that the handle essentially just starts as a cubical shape, right? So this is kind of a cube. And then this goes inwards here. And here starts, yeah, our cylinder. The cylinder essentially goes all the way up, but we cannot see it. So probably we'll just put it around here so we don't take too much texture space in our uv maps. And then we have this part here as well, which is also just very simple. It just looks like a cubical shape goes inwards and just like this part on the bottom. And then we have an extra little part here, right? So we'll need to figure out how that works. And of course we have this part here, bam. We also see a little edge here, right? So we need to keep that in mind and also create that geometry. So somewhere around here, maybe we connect it with some trees in here. Something like this would work probably. Right. Now. We don't really need to model this. You could, but we can also do this texture, so okay, so there's little circles here and here we could texture. And then as last, we have this cloth around here. And yeah, we also need to create that, of course. And that is a little bit hard to showcase with just yeah, putting lines here. So we're actually going to do depth inside Blender. It's just unnecessary to do it here. But yeah, we do want to notice it. And it kinda highs a part of the cylinder. So the cylinder that we have here, as we showed before, it doesn't have to be as long. Right. So yeah, just to keep that in mind. So that is yeah, Whatever we can see on the side view, which is important, but we don't really know what is happening on this RFQs and we don't have any way of knowing it, right? So we just need to play around for what we like. And that is actually quite fun. But yeah, for instance, here let me explain. We do not know if this part here, which we talked about how big it is, right? We see one side, which is this side. But is it a cube like this? Right, is as broad as this part? Or is it way smaller here in the middle? So that is kind of yeah, up to us to see what looks cool. So we're going to do that all inside Blender. But I hope you guys learned from this and see that this is actually quite important. With this, it is of course a little bit redundant, but I hope you guys can see that this could have a major impact on any other monocyte you're going to create later on, right? So keep it in mind and we can go on to our next part. 3. 3D model the sword blade: When creating 3D models, we need to keep in mind what our goal is. In this case, our goal is a low poly modal and it is going to be a sword, right? A low poly model just means that the amount of polygons are low, so geometry is quite low. This is handy for keeping the memory low. It's easier on the computers, but also it is easier for animating. Now, why do we create it in this case? First of all, if you want to use them game, that's totally fine. But we can also consider it right now as a art style because we're not going to do a lot with the modal ourself. We're not going to sculpt it. We're not going to do at high poly and low poly, we're just going to do a low poly, then our painting actually has to do all the job. So now we're going to also learn how to paint stylized. But first we need to create our low poly model. And what I'd like to start with is go into the front view of your 3D space here. Then wrap your image and you want to drag it in. Now, you can move it down here, scaled a little bit up if you want, but make sure it's kinda in the middle. And we can start to model this sort. So let's delete this default cube and create a plane. We're going to rotate around the x-axis for 90 degrees. And what we're gonna do here is we're going to rename this to sort. And then blade. How do we model this? Well, we're just going to grab a vertex, move it around this point here, this point, and move it around our model, just like this here. And here. Now, this part here I'm going to delete for right now. And we're just going to focus on this edge here. Is want to go here, extra roots, extra roots extrudes and just keep doing that until you reach the end here. Bam. Now we want to select everything with a and then executed inverse a skilled a little bit down and move it inwards. Here again, we're going to just follow this black line, Okay? So are darker line, at least. Move this all a little bit inwards. This part, I'm going to move like this. So we actually have this edge here, and then this should have more of a rounded shape. And here we have this part of the model. Now, it is important to see that if you don't use enough geometry as you see here, that it is not nicely and smooth curves, right? So if you want this nice curve, you need to add extra geometry. So Control R and we can create an edge loop in here. And we can move this a little bit around. Same here. Moved a little bit around. Now, this part is quite straight, so we don't need to do it yet here. But we can look here for like this nice curve. And I actually do like it. Maybe one more that will give us a nice curve. And that is it for this shape. Now, select all of this again, x fruits and then a skill that inverts. And now what we wanna do is we want to make sure we follow this outer line here, right? So we're just going to move everything around again. And I like to do just a very general job at the beginning and then go piece by piece and just move them into place. Here. Now, create an extra, extra pair. Let's make this a bit more smooth. And this starts to seem quite these and make sure you follow this nice and smooth line here. That's quite important. Now, this parts should be quite straight. But if I select all of this and then do scale x 0, it just scales is kind of a general place. But if I go here into my pivot point and do active elements, I can make one of these vertices and elements. So I'm just going to choose this vertex here. Once you've selected it, you see it as white and that is the active element. Now you can do skill x 0 and everything will be flattened around the x-axis of this active element here. We can do the same here. Sec, this one, then this n and this one. They're all selected. This one is still white skills, that's 0, right? It's that easy over the bit down if, uh, once. It's also a bit down, just so it looks a bit better. But that is essentially how you can do that. Now, as last, we have this little part here. So you can just select this whole edge loop here and then extra routes around the x axis. And then you can always play a little bit around with the shape, right? So it seems to go a little bit inwards. And that should be fine. So this is kind of the general shape of a whole sorts blades, but it doesn't have any thickness, right? So what we're gonna do is we're going to select with face, select this whole black part here, or darker part, let's say then g, y and just move it a bit outwards. Okay, so now we have some thickness. I'm going to hide this empty for right now. I'm just going to add with our Modifiers, add a mirror modifier, which is here. Bam. I want to add it around the y-axis, right? So why? But you can see that it doesn't really match up. That is because we need to apply a rotation. So click on Console a, Apply rotation. Now, I want to also make sure my clippings on and add some extra geometry so it actually looks full and we don't have this open area here. Now, go into edit mode. Select this whole edge loop here. Actually inverts around the y-axis. And then you can of course, fill this part and this part up as well. And here we have our sorts. So now you can also choose how thick you want the score to be. So you just have to select this black part, of course, and then move around the y axis to make a thicker or thinner. That's all up to you. I think right now. Should be fine. So we're going to keep it at this. Later on. We can always change, solve the geometry. But I first want to go to the other parts so we can see that everything matches nicely together. I hope you guys learned from this and I'll see you guys in the next part. 4. 3D model the sword handle - part 1: So as you can see, the blade is Stoli finished. Now it's time to go onto the next part, which are the handles, right? So it's just one handle of course, but we are going to separate this in multiple lessons. Okay, so let's just take a quick look. We have this kind of half circle on the top. Then we have this big piece here. Then we have a cylinder that goes down and this bottom piece. So I think we should just start with this big piece right here. And that is just a cubical shape. So it's Shift C to make sure that 3D cursor is in the middle. And then let's add a cube. We can just move this cube down and scale it so it fits the size. From the side, it might already look decent, but if look from another few, you will be able to see that. Yeah, It is way too big for our sort blade, right? So we want to scale it around the y-axis just so it looks a bit better somewhere around here. Now, if we also look at the side view here, you can see that it has a little bevel around, right? So we can also create that with just selecting the edges on this handle path. Now, if I click on Control B, I will create a bevel. But this Bethel works a little bit weird as you can see, and that is because we first need to apply our scale. So go into object mode, make sure you select this cube comes from a and apply scale. Now if you go back to Edit Mode and do Control B, you can see that these bevels are now responding correctly. So somewhere around here seems to be fine. Now, there are two things that we need to keep in mind. First of all, we never want these kinds of phases because this singular phase here has, what we can see down here is eight vertices, right? You never want more than four vertices attached to one face. So I'm going to the latest phase and we can work on it later. First, let's select this face here and we get our image back just so we can work downwards, okay, So actually downwards, somewhere around here. And then scale it inwards. Now if we go into wire-frame modes, which is just z, and then drag to wireframe. You can see that we are not following this curve at this point, right? So we need to add some extra edge loops, which you can do with Control R, and then scale it down. Control R. Scale it down. One more skill down here and here, we could also add an extra one. And now we have a nice smooth shape. For this last part here on the bottom, it seems to be just a square again, but now we already have a bevel here. So we need to manipulate this phase at the bottom as well. Let's focus on that first. So I'm going to hide this empty. Click on X and then delete phase. And I'm just going to select this edge here. Click on f, f, f, So it fills up all the way. Then with my knife tool, which is K, I'm going to select this vertex and then this vertex and click on Enter. Same one for this, this vertex, this one, Enter. So now we can just extract this downwards. Make sure we look at our image again. You can see that we are almost very wanted to be. If you want to really adhere to the image in the back, you want to move this phase little bit around the x axis, right? So somewhere around here. And now this seems to work great, right? So we have our little, yeah, just square shape here. Next thing here on top, we said we didn't like that. So I'm just going to select one edge here and then click on F, F, F, there's this, fill them up with nice quote, geometry. This is the top part of the handle. And in the next part, we'll focus on this little circle here. See you guys there. 5. 3D model the sword handle - part 2: In this part of the material, we're going to create this circular shape. It's going to be quite simple, but we do have to follow some steps to create this little grayer part here, right? So click on Shift C to make sure treaty curses in the middle. I'm also make sure I'm in my font few. So click on one on your numpad and then add a cylinder. Let's put the cylinder at 12. You can see I already did it before. And then we can rotate this around the x-axis for 90 degrees and move it a bit down. So make sure it fits here. Somewhere around here is probably a decent enough. Yes. Then make sure you go into mouth wireframe. And with B, I'm going to box select this bottom vertices and then click on X and delete them. Now, I'm going to box select these as well and extra them a little bit downwards, just around the z axis until it reached the, yeah, kind of this cutoff point. Then extra ones more and just put them somewhere around here. Now, I don't really want to do double work, so I am going to create a new edge loop here in the middle. You can see here, and then delete this black box. Now, let's add a mirror modifier around the y-axis, but make sure you first apply the rotation with control a. So let's get our image back. Go into edit mode, and now we can start to play around with this. So I'm going to select this whole edge loop, going to the front few extra effort and skill downwards. You can see right now I'm scaling towards this point which I do not want. So I'm first going to put my fifth at medium and then scale downwards some around here, and then just move it until it fits this bottom vertices. We can very easily just match up with this one. If you want to align them, the only thing you have to do is just select whichever ones you want to align, then one, which is the coordination that you want. Go to pivot points. Active elements scale z 0. In this case. I'm going to do the same ones for these hear skills at 0, and this seems to be totally fine. Now, let's match these up as well. So I'm going to fill this, fill this crate, a edge loop here in the middle with Control R, and then fill these spots up as well. We probably could merge this together with M and M as last these ones as well probably, but I'm not gonna do it yet. But let's just give it at this and we can see data, what else we're going to change. So control arm and I'm going to move this a bit inverse, and then I want to delete this edge loop around here. Seems a bit weird. But what I'm gonna do now is I'm going to select these four vertices, click on F to fill them up. Then select this edge, FF, FF, FF, FF, FF. And then make sure I fill these two little spots also up with a face. Now if we go to the front view, you can see that we created some depth in here, which is very cool. And this circle here in the middle, we do not need to recreate. You could do that of course, but we are going to do all of that in with the painting. I really want to show you guys how to create some deaf paintings. So that's what we're gonna do. Now. As less, I just want to select this whole part here and then just move it inwards. So we need also of course, our swot blade just to see how thick that is. And we do kind of find a spot where it will look great. So I'm going to hide my image for right now and then see if this works. Actually looks quite a gay and might want to make this a little bit bigger. What I think we have a decent result here, okay, so if you'd like to understand as well, then we can go onto the next part and see you guys there. 6. 3D model the sword handle - part 3: So now we need to create the last part of this handle. So we only have to create a cylinder and then a cubical shape on an IV. So I'm going to click on Shift C just to create a nice cylinder of tofurkey is fine and then scale it down. You want to skilled as much down so we can later on wrap this cloth around it. Okay, then go to Edit Mode. Move this up here. You want to move it down till it reaches this end part here. And then create some extra edge loops, something around this. And then scale this last part up, okay, make sure your pivot point is set to medium point by the way. Then scale it up and make it a bit more smooth with this one here. So something around this seems to work great. I do however think this sharp edge is a bit too sharp. So what I personally would like to do is I want to delete this face, which is a bad phase anyways, we don't want it because it is an M gone, right? It has more than four vertices attached to this face. So the dated extrude it a little bit down. In fact this, and then you can always extrude M and then add center. So now that this is done, we can create a little cubical shape down here. So Shift C, shift a, get a Cuban here, move it downwards, skill down and make sure it fits. We're just gonna do this bottom part right now. Somewhere around here. And I want to make sure week are mirroring this. So I'm just going to delete this back part. It's a bit hard to see, but it's going to do it quick for right now because we have already done it so often. Apply the scale and rotation. Here you can see our entisols and as you can see, it's quite simple right? Now. Into the front view, we want to create this nice shape. So let's go into edit mode and create some extra edge loops here with our somewhere around here. And then I'm going to do five and then click. Then select this and move it downwards. Same for these. And this seems to work fine, perfect. Now we also want to create a bevel on these two edges. So Control B, some around here. And let's focus on here. I'm going to select all of these edges, extra them upwards and your skills at 0. Okay? So if I now scaling down, which you need to do, you can see that it kinda detaches and I don't want that. Also, it doesn't go to the middle, right. So even if I put clipping on, it just elongates and that is not what I want. So what we're going to do to fix this, Let's go to vertex select, make sure we select this middle vertex S last. Put our pivot point that active element and now skills around that vertex. So push our image back and scale this down. Those somewhere around here. Then you can always create extra edge loops to make this nice and smooth. And this is essentially our model. Perfect, right? So if we are going to unhide all of these, you can see that we have a decent model and we can combine all of these parts that we just created in the last few episodes, Control J to join them together and rename it to Swartz handle. So the next part, we're going to create this nice cloth. And I'll see you guys there. 7. 3D model the cloth/fabric: Welcome. In this part of the tutorial, we're going to create this cloth or fabric, whatever you want to call it. The technique that we're going to use is quite simple, but it does require some work. So I'm going to show you a time-lapse on how I did it, because it is unnecessary to explain every single step. What we're going to do is get our sword handle back here and create a plane. Let's rotate this plane around the x-axis for 90 degrees and move it down. Go into wireframe mode and make sure the size is kind of the same size as the crop in the back. So some ground here, right? Then I'm going to add two modifiers. First modifier is going to be the subdivision surface, just so we have some more geometry. And then the next modifier is going to be the solidify modifier. Make sure you make it a bit thicker so the thickness can go up, maybe point to something like that, and then move this a little bit further here. We can rename this to Swartz cloth or sort fabric. And now it's time to create it. So go into edit mode. You want to select one of these edges and just actually live. Then you can move it a bit away here. I'm going to remove my image right now and just keep moving it around so it fits nicely. Just extruding it, rotating. And sometimes look back at the image and see what she portrayed. You do not have to copy everything, okay. But I just do like the way that it is portrayed, so I kinda want to copy that in this case. But you do not have to. Another handy thing to keep in mind is that, yeah, you can just select this edge and exit route, but let's say this is not smooth enough. I can always create an extra edge loop here of control are, and then just move this around. Okay? So those are the two tools that you will probably be using here. Okay, let's finish this. In this lecture. Hi everyone. This is the measure that we use. Yes. Yes. After associations. Associations. It is indeed acting as a chunk. At this part. You can see that, yeah, it looks quite decent. Maybe we're not totally there yet, but it looks decent enough that we can actually go to the next step. And that is essentially, I want you to turn off your subdivision surface and see what a huge difference this makes. So even though that we are going low poly, I do not think we should go as low poly as no such efficient. So in this case, I would highly suggest go to a sufficient level of one, then just apply this. And what it does. It creates, of course, more geometry, but it also creates this nice line in the middle. If you don't want this, you can delete the edge loop. But I personally like it because now you can have some extra dimension in your cloth, right? So now we can see really that the graph is pulling hair. And I do think that's quite important. Don't apply to solidify 15, 8 yet. You can do this after, but just now, you can keep playing with this cloth. And now you have some more geometry to work with. Um, yeah, that's the only thing that I can kinda explain what you have to do here. Because now we just need to go back into this again and just also creates some extra depth with this new information, right? So I'm going to just go on and work of this and nothing is really going to change. So I don't really need to show you guys the only thing that I really changed, It's just this, right? And just make sure my model doesn't really intervene with the model underneath. So if this happens, you can always put on your proportional editing. I personally like to put it at connected only at this point and then move it a bit further away. Yes. So it doesn't intervene with any of these other models. Once you have done this, you can go onto the next video and we're just going to finalize our low poly model. And then we can start to do some UV unwrapping and ask the debt even some textures, right? So I see you guys there. 8. Finalizing the sword: In this part of the class, we are going to finalize this model. And how are we going to do this? Well, there are a few things that we have to keep in mind. The first one is the topology. So if we look at our topology here, is that what we want? Do we want to change certain things still, because now we still can. Can we make it lower poly and thus the shading work? Well, that all has to do with topology. So let me now show you that here in this curve, if we are going to get rid of polygons, you can see that this kinda disrupts the shape of this nice, right? We don't want that. But let's say I get rid of this vertex here and we're just going to merge it down. You can see at this shape did not change at all. So this vertex, which is also a part of this whole quad, is kind of redundant. We don't need it. This one, we do not need as well, right? So if we just merge these down, we do not see anything change. The shading doesn't change, and the shape doesn't change. And those are the two things that you have to keep in mind here for models, especially in this low poly model which we could use for games, we want to keep something in mind that most games work with triangles or trees. These game engines will also convert quotes, which is a phase with four vertices attached to it, into two threes, right? It will just collapse this down and then creates an edge here, for instance. So they already do it automatically and we're also not going to bother making everything a triangle. But if you have an n gone, which is essentially a face with more than four vertices. So if I subdivide this, you can see that now this phase here has five vertices that is kind of hard and it doesn't make any sense to you have to do this right? And end gone, which is more than four forces do not work and we do not want that at all. Never. Okay, so just get rid of that. Now, we also want to make sure that the shape of our model is still right. So if we get this image back, you can see that this Swartz does have some cuts in here, right here, here, and here. So you could also do this in two ways. You could make geometry to actually match this, or you can just painted black. But let me show you how we do it with geometry. So you literally just move some things around. So let's say I'm going to move this one down here. And with my knife to, I could create some extra geometry. So that is just the K. Then click wherever you want your geometry to be, somewhere like here, and then Enter when you are okay with it. Now I'm going to delete this part here because we don't need this edge. And here you can see that this kind of matches our model and the back. But because we use the knife tool and we just did it in the middle of a face. You can see that our phase here now has 123456 vertices. You cannot see it down here. And that is an N gone. We don't want that, so we're going to use the k2 again, so the knife tool and just match some of these up. So we at least have some decent geometry. Let me write this week, as you can see here. It's already way better. And then of course we need to match this up in the middle. So just do it like this. And now all of our geometry fits. And we have some extra geometry in here which creates that cool little cut. You can choose. Do you want to just paint it, which you can do black, or do you want to create these cuts in here? That's totally fine. Just make sure that your geometry and your topology fits our needs. I do want to keep my mirror modifier on. You could choose if you want to keep it on or off. But I keep mine on because I want to also mirror my textures this way. I only have to paint one side of this sort blade or whatever else we're going to texture and then it will be copied to the other side. This is a little bit of a time-saver, and that is mostly because I just want to do this class more efficiently and I don't want to bore you guys. And you also can use less space in the texture maps, which could be very handy, which creates just higher-quality textures. But the other side, of course, lose the same. So if you don't want it both sides to look exactly the same, then you don't need to use this mirror modifier and you can apply it. Okay? So for the next thing, this was the blades. We can go to the handle. Here we have the handle. And if we look here in the handle weekend, see that most of the geometry kind of fits. But for this one here, and for this one, which I can kinda separate from the selection. So I'm just going to. Select them, then click on contract to expand my selection, and then click on Shift H to hide the other models. You can see that both these models are not really optimized for this mirror modifier. And that is because both of them actually don't have to be mirrored because the geometry is already all the way around. So I do want them to be mirrored. So I'm going to create an extra edge loop in here and then go to the side view which is 3, and delete one side. Okay, so use the vertex selection here, click on B to box select and drag this all the way around here. Now, the Leto's vertices, and you can see that this is also mirrored nicely. Then Alt H to unhide everything else. So let's take a deeper look into this model. I'm going to unhide my fabric and my blade as well, just so I can look what else is visible. In this case, we can see that not all of these models for vertices or geometry is feasible, right? So this part in here is invisible. We don't see it. If you do not see it, we don't need it because of course, it gives us geometry that we do not need, but it will also take up space in our texture maps, right? So we want to just get rid of maybe these vertices here. Now, that is already way better. And while I am here inside the wireframe mode, I can see that here is a lot of geometry that we don't need, right? So I'm going to just hide this so you guys can see what's happening. We can see that first of all, this geometry, we cannot see because it is hidden by this part, right? By this cylinder. So I can delete that. And then here in the middle we can also see that this is really not necessary. So we could delete of these as well, right? So here, x vertices, so click on Alt H to get everything back. And I can see that some of the geometry protrudes here and I don't want that. So I'm going to scale this up so I can see it. That looks better. And overall this looks great, right? We don't have any geometry that needs to be hidden. You might be able to pull this a bit down just so you save some more space into your texture maps. But that is all extra. And overall this looks great. So as last we have our swot fabric and here's a sort fabric. And what you can see here as well in our other models is that this looks quite yet weird, right? That looks little bit flat and we can see this flat shading. So we normally want to right-click and do Shade Smooth just to smooth this. But if we do a Shade Smooth, you can see that the shading also exhibit weird. I'm going to apply my solidify because I think this thickness looks great. But in order to make the shading look better, and it'll go here into my Object Data Properties, go to Normals and make out a smooth at a 120 degrees. Nothing will have changed, but we need to select with our selection tool, this whole edge loop and this whole edge loop. Then click on point for E and do mark sharp. Now these parts are seen as sharp. We can do it here as well. Mark sharp. And you can see that instantly this weird shading here, which is the smooth shading, will be changed. And now this is seen as a sharp edge, right? So that's what creates a way better shading. I also want to change the shading here at these ends, bits, which is a bit hard to see, but I will try to hide it so I can explain it a bit better. Shift H here. You can see that the end and the beginning, we can actually just delete this bit here and select this and create a sharp around these edges to create a good shading. Now, there is another end bit and that is up here. Beginning and end I see is here. So I'm going to select it, shift H, the lightest parts, we don't really need it. And then deselect all the way around here, Control E and then Mark Sharp. Awesome. So this looks great, but we also need to make sure that the sword handle and the sort blades have the same yes. Smoothness, right? So Outlook goes on at a 120 degrees, right-click Shade Smooth. And let's create some sharp edges. So I'm going to set this whole edge loop here, this one as well. And then this one, make sure you don't forget this sharp part here. I'm going to unhide this. That is not really needed for this. I would like to be sure here as well. And here. Contrary, mark sharp here. So actually Sharp. And let's look at a model. We have some nice shading. I don't see anything weird. And if we actually see something weird in the future, we can always go back and clear sharpness or create sharpens, right? So it's the easiest that and this looks great, in my opinion. Good shading. Yes. So let's go on into our swot handle. And these are a little bit more so right-click, Shade Smooth. I'll just move on a 120 degrees. And here we're going to select whichever edges we want to be sharp. So this here, for e, mark sharp. Looks great. Then these edges as well. Mark sharp. Down in the bottom. Mark sharp. And here I think I'll only do this bottom part o you can see, by the way, look, this is also an M gone, right? So we don't want this one as well. We could just use a knife to with k, then match it up with this one here. And then just set this whole edge loop. Country mark sharp. It looks better. And I think that should be fine. You could consider doing it also here. Well, it makes it quite sharp, so I think I will keep that smooth. But as well as I said last time, you can always go back in here, right? So that is how we create these nice smooth looking models. As we can see here, we have done everything. And in the next part, we are going to UV unwrap this model. I see you guys there and don't forget the safe. 9. UV unwrapping: In this part of the class, you will learn how to UV unwrapping models. We need to UV unwrap them before we can actually texture them, because we have now a 3D model, but taxes are 2D, so we need to create seams so we can flatten the model. Now, let's just focus on swot. First. I am going to the shading, create a new material and add an image texture, color goes into the base color and we can create a new texture. This is going to be a UV grid. Click on, Okay, and now we have a UV grid. You can see that it's just a weird kind of grayish color. It could be totally different review. It just depends because now we do not have a UV map, right? So we didn't create any UVs and it just acts weird. So if we go to the top, select everything you, and then unwrap our model. We can see that now we have a checkered model. So if you go to the texture paint or UV Editing, you can see that here we have our UVs. So when do we know if the UVs are good or not? So the RFQ, things which are important when you create uv maps. The first one is that you don't have any stretching in your UVs. And that is why we also use this texture that we see now. And one of the big reasons is that you should not have any overlapping geometry. So this is overlaps. Here. You can see that that is not really what we want, right? Because if we now want to pay it on this bit is also going to be on the other part, and that is hopefully one. So yeah, those things you've got to keep in mind. Furthermore, I think we're good. We don't have to go into too much detail yet. But let's look at our image here and see if you have any stretching. So I'm going to move some stuff around here just so you guys can see what the stretching is actually doing. So if I move this around, you can see that the normal goods texture maps here are the ones that do not have any stretching. So the squares of the structure are actually square. Right here. You can see that the squares are kind of not squared anymore and there are elongated, so there are stretching. In this case, they are kind of compressed together as you can see here. And here we see a typical form of stretching as well. So we want to avoid this and we want to have these squares, okay? So make sure you select effing again and UV. Unwrap. The nice thing about having the mirror modifier is that now whenever we UV unwrap this, the other model of this outer part is going to lay executive of this, which essentially means they are overlapping. But in this case we want this overlap because then the left and the right are going to be exactly the same. And it will take less space in our texture map, so we can make them bigger inside a texture map, which makes them high-quality because then you have more pixels per object that you put in. So where do we need to create our CVS? I just like to create it on our whole like inner loop here. So Control E mark scheme and make sure it happens everywhere. Yes, that is good. And now I am going to UV unwrap it. It's probably will stay the same, but now we can look at our UVs. So where do we see stretching? First of all, this in the middle is weird because we have, of course, the mirror modifier rights. You can hide this for right now if you want to and just focus on the stretching. Here we can see a little bit of stretching here as well. Right here the textures are doing some weird stuff. And here seems to be okay all the way around, except here we are weird again, so okay, so I think we should select our selection tool and then select this edge here, or maybe these two. So let me mark them, these two here. Then this will all be flat. It would be nice. It does take a little bit of knowledge about texture maps, but it's not that hard. Okay? And then I'll also do a seam here. This seems to flatten out nicely and I think I will separate this part. So mark scheme and this part will be separated. And then a UV unwrap can see that everything changed a little bit. But here we have nice squares. It's a little bit of art here. So we could think about selecting this whole edge and marking them. But you can also think like, okay, what is important here? Do we like, really see that little stretch that is happening there or not, right? So if you don't mind a little bit of stretching, you could keep it together and otherwise you can separate it like I did here. And I think this should yeah, this works great. So what we have now works great. And yeah, because we have fire, it works on both sides anyways. So we can go onto our handle. In the handle, we can also just separate each selection for right now. So Shift H. And that's thing here. Here. Here might be good to have seams. Then all the way around here. Make sure you get these corners as well. A on-ramp and always check it up with the shading, right? So just create the same material. Can UV unwrap it again? And if these squares are quite small, you could just go to your UV Editing and just change the scale of this here. And that seems to fit decently set here we can see some warping. So maybe I also create some seams around here and see what that does. Looks better, right? Do we have any overlapping, we do have overlapping geometry. That is not what we want, so we need to fix that as well. I think what we should do is we should separate this. So we're just going to select this edge and then Maxime and maybe just clear this edge. Okay, so let's see what it does on one side. Yet we don't have any overlap here. It's great. And here as well. So let's do it for both sides. Create a seam here and then clear that seem you unwrap. And then let's make it smaller just so we can see our squares, we better and we have no weird stuff happening. Everything looks good. Yeah, we should give it at this. I think this is fine, awesome. You could also do maybe this seam right here and here. It's kinda like a puzzle it is, there are a lot of people hate it, but I kind of, I'm not hating it lately. It could be fun, you know, if you just think about this as a puzzle, but see what we did like I created now the different CME, you can see that it's totally var, right? So now you instantly know like, okay, that is clearly not what we want or what we need. So just do whatever we had before. And this is good again. So you should just see it as a possible, then it becomes more fun because most of the time people hate to do this, but it's not that bad. Alt H to hide, it says autopod Control Plus to expand your selection, then Shift H. And here we can see just as model now a UV unwrap. And yeah, this, this doesn't work out. You can instantly see lots of stretching and that is just not what we want. I was of course expecting it as well. But now we need to separate some parts. So I think this should be a whole scheme around here. Then probably here, here, here, and here as well. Let's see, unwrap that for a second. That works quite well. And for the top here you could just separate this actually like depth. And that might work unwrap and you can see it. We have some nice squares here. There is some, yeah, wrapping and wrapping around here. It is hard to get rid off though, because even if I select this, it might help a little bit, but because of the shape itself, it already starts to warm up a little bit. Okay, so it's okay if it sometimes happens. And in some cases you can barely like, yeah, get rid of the war. But just make sure you don't get too much of this, right? It will happen always a little bit. But if it's too extreme, you should change some of your seams. But in this case we could clear this one just so it's together here, your maps. And that should be fine. Do we have any overlap? Sadly, we do have some. Sometimes it is hard to see where this, where this is happening. And what you can do is you can select this part here, u, v sync selection. And if this is on, which you could do is you can just select a certain vertices or face, whatever here at will be selected inside the 3D model at the same time. So now we know what a problem is right there. We know that the problem is here. I think we should then just separate this whole part. So whole seam around here, unwrap this, and we got rid of that little overlap. So we don't have any overlapping UVs. And that seems to be perfect. Okay, So next part of H to hide this, Let's separate this part here. Yeah, It's a bit weird. I think if you just unwrap this by its own, it should already worked because it's not really weird. Geometry, as you can see here. But maybe for geometry like this, I do not want a mirror modifier. Okay? So if you want to separate this from the mirror modifier, just select this whole model p and then separate the selection. You can apply the mirror modifier then for this model, apply it, and then unwrap this. Now to run that doesn't work because we don't have any seam anywhere. So you can just select a whole edge loop like this. Contrary, mark seam and unwrap this, and that seems to work already better. I just think it is weird to mirror a cylinder, right? It might seem a bit weird on my part, but I just don't like mirror in cylinders. It's just a nice circle so I can just paint all the way around here. Same for this one here. I want to separate this one as well. It's also a cylinder, so I'm not going to mirror this as well. And I could kinda join these together if I want, and then just unwrap it for this one also, this doesn't really work out, so I need to select this cap or this cap here mark seam. And then I'm going to do these to a unwrap. And here we have a nice UV unwrap again, there's not a lot of stretching. There will be some here, of course, because of the shape itself, but overall, the, yeah, it looks nice. Yes. Then we can go on to our other model here. This bottom part is the only part that is left and we can just separate this. I'll create a UFO VCM for sure here. Maxime. And there is a lot of stretching here. I can see it. Just try the first unwrap. This already looks better, but it's not totally where I wanted to be yet. Also create a seam here. We could just see him this out. It will kinda separate these parts here. But lately with a lot of tools that doesn't matter too much anymore. You can kinda paint over each side. It kinda keeps in mind that there's a seam. But I think size-wise the squares are better now and there's not a lot of stretching. So I think this might be the way that we want to go. And as last, we have the sort fabric, right? So let's select the fabric and then put this material on it. Then go to UV Editing. And here you can see that, yeah, if a UV unwrap this, it looks weird. That is totally normal. We are going to select this inner two edge loops. So Alt and then select this edge loop and then shift out a sec. The second edge loop, country mark scheme a, you unwrap. So this is not necessarily bad, but you can see what it does, right? It describes very weird UVs and that is because it's all wrapped around and yeah, Brenda doesn't really know how to calculate that, so we need to do some extra steps to make this flat. And it is quite easy to actually do this. You just select one of these phases here. And what you want to do is you want to make sure that it's clear as possible. So you can just select these scale y 0, then these ones as well underneath. So here scale y 0, then the sides skill x 0, and this one as well, skill x 0. So this seems to be quite nice and square. Then you want to make sure you have your face. Select on, select this face, then click on a and everything else will be selected as well. But this one is still the active phase. Click on F3 and look for UV, follow active clot. So if you just do follow Active Quotes, That's the first one that comes up. Selected length average is OK and click on Okay. And everything now will be nice and flattened. And most of these faces will be a square as possible. But you can see that not every single one is, but at least it's now nice and flat so we can actually fit it inside our texture map because this is just very annoying to fit around everything. Okay? Now, if we look at our textures, you can see that also here, it looks quite good. So let me actually skill this with objects so we can see there is some stretching, but it's not really extreme, right? And this is the best way to actually fit it in here. But because it is so long, I might want to make it into three parts because it only fits this way now. And you can see how big the squares are on top of here. This also means that whenever we are going to paint, it will have a very low resolution, right? So we don't want that. So we might want to create some extra edge loops around here and here. All right, so just select them so it seems to be quite as third. So you want to solve this in three parts, then click on contrary mark scheme and UV. Unwrap this again. Now you can see these have three parts and that is the best that we can do here. This one in the back, which is this inner whole row. We're not going to pay too much time into this. This is just going to be flat and B is small because we cannot really see the inner part anyway too much, right? So this one is gonna be kinda redundant and I'm going to show you how to do that later and how to fit every single UV map together. But let's focus on these three parts. So we're going to select one of these. And we're going to do exactly the same what I did before. So scale y 0, same here. Scale y 0, skill x 0, skill x 0, make it square. So even if you have to move some vertices around, that's totally fine. Go to Face Select and then do this F3. And this is great. You can see that only does one of them, right? So we need to do it three times. So just do it again. And for this one, we're also going to do with what? We're not going to cut it down into three parts. And so I'm just going to select this here. And in the next part I'm going to show you how to put all of these together into one texture map and then we can start painting. See you guys there. 10. Combine UV maps: So let's put all of these together into one texture map. What I like to do is I'd like to select first just one part and move it to the side, then another part and also move that to the side. So make sure you hide the fabric for now and just focus on the handle. Sec, this first UV unwrapped, so you and then unwrap and then move to the side. Then as well, we're going to do the handle was 000 001. We can rename this to handle or just handle cylinder maybe. Because we kind of separated it, right? We didn't want this mirror modifier anymore, so we can delete the mirror modifier for it as well. And then you unwrap, here we have it, and we can move this hair. And then the most important one, the blades here, on-ramp and here we have it and I'm going to keep this into place, right? I might want to move it over here on this side. And what your goal is, you want to fit everything as tight as possible because then you have as much space as possible for every single model, right? Otherwise you just, yeah, having empty space which is wasted. Sometimes moving your models of rounds will create more space. So that's kind of the goal that you're trying to do now. So for instance, this one here, I can easily just move somewhere here, right, without it taking space. Then what else we can do is I can select this whole part here and just rotate it around. Which creates more space here. But it also opens up space here and here. So maybe it is not the best choice right now, but maybe it is, right, so you need to kind of figure it out yourself. But some of these techniques could come in really handy. One thing you also have to know is the bigger a model is inside your texture map, the more detailed you can make it essentially because there is more texture space available. Now, we want to have kind of the most texture dense should be the blades, but the handle fabric should really not be forgotten, right? So I'm just going to put my handle here and I'm going to select it with my blades just sockets, even a blade still. And this handle here, I want to move inside this texture map. So what I'm gonna do is I'm just going to select this whole handle here, but scaled it down. It is less important, and it is also smaller than the blade is, but we still want to have it a quite of a big space for it inside a texture maps. In this case, I do think these texture maps are a bit hard to see where I put everything because of all these squares. If you want to get rid of that, the only thing you have to do is going to be shading and just delete this texture map, create a new one. And you can just do maybe the color white. Make sure to generate a type is blank. We're going OK and then go to UV Editing. And here you can see that we have a little bit more as easy to see that same, right? So I just placed all of this in here. And there's probably a lot of optimizing to do. But I think for this class it's, yeah, it seems to fit quite well, but we don't want any of this overlapping geometry, right? So that is quite important. So we'll make sure we don't have that. I think for just select this model here, expanded and just rotate it. It actually fits, right? So I'll maybe not totally will make it fit though, right, with this, a bit down, some space left. And then maybe we select this one here and just rotate it a tag bits, make sure it doesn't interfere with F, anything else. It does go and quite inherent a little bit, but I could move it back. And now it fits right? So now we save some space essentially. So next thing is the sort fabric, which maybe we should have done earlier. But let's just look what it does. And we're going to step off this. Here's our sort fabric. This part is not really important because we can barely see it. But these three higher are quite important. So we want to make sure we give it some nice texture space. I think maybe if we rotate it, put here. Let me think, maybe to decide. So maybe if we do 90 degrees, we're just going to kind of pop them here, but then we have to move the handles again. Okay, I think that's the best thing that we can do here because then we can give them as much texture space as possible. And we can still move this handle part around. We can move them kinda in here, right? So I think that is quite handy and that is what we should do. So that's one is fine. You don't really want to mess around with this scale because this should all be kind of the same scale. Can go around here. And this one can go here. Right? We could move them all up if it wants. And I think this placement and the Swartz placement like the blade are quite seem to fit quite well, right? So those seem to fit well. But we do have one other model here, which is the sword handle cylinder. And we should also select that one. And that is a here. And this one can be quite small. Actually. We can move it somewhere around here. I did forget about this part. What we could do is just scale it down and move it here to the side. Here. So you can see it is, it is again puzzling you just the whole time puzzling and seeing how can I give this yeah, model the most space, right? And I think we're kinda getting somewhere. And now in the beginning we've placed all of these sections in other parts, but now everything seems together and we seem to be becoming, it's become a quite messy, but you can very easily just separate these other parts. Just select whatever part you need here. And I'm just going to move this out again and just go back and just redo it. All right. So now you can see that yeah, I think seems to fit quite decently. I might put this one over here. This seems to fit nicely. And then just rotate this around again, seems to fit decently. And this one I could do here. So we're puzzling, Puzzling, puzzling, but we are getting towards an end. And you can see that also probably I could spend hours here to optimize this, but that is of course not the yeah, what do we have to do? Air and they would like then the class will take very long, but we're getting slowly somewhere. We can give this stuff some space. Here. Maybe I'll do it separate. I just select this part first. Move it over here. And if something doesn't fit perfectly, you could even go back and then create a not a seem, right? So I don't think it's necessary now, but there are a lot of possibilities what you can do. So this fits nicely in here. I'll just make sure I write this. I do need to actually move off this still a bit to the right, which could cause some problems. And I should have thought about earlier my bath. But that gives us just another learning experience. So I might move this here. Rotate this one. That's what we call mistakes, learning experiences. Yes, this one here. And then here is one, perfect. We're getting somewhere, guys. This one I'm not 100 percent sure about yet. It takes up a lot of space but might fit in here. Yes, it does. And then I hope these will fit as well. That's a problem. So I'm just going to this one down there is enough space down here and even here. And here we are. So we have everything. I do think we have everything. There don't seem to be any oh, here's something that's overlapping. We don't want that. So let's try to move that out for a fact, check for any overlaps, but we should be good. Yeah, awesome. So that is how you put everything together inside the one texture map. And if you go back to your shading and then put your first texture back again, you can kind of see how much and how big these squares are per model. So we can see that the squares are quite small on this model here, which means that here we have a nice pixel density so we can go in high detail. They are a bit bigger on our cloth here you can see also some stretching, but yeah, we have to work with what we have and further all yeah, Furthermore, it looks quite decent. So I think we can work with this. If not, we can always go back and do our uv maps, but I think in the next block, we should for sure go and texture finally. So I see guys there. 11. Stylized texturing workflow: In this video, I will explain how to texture paint a model. So let's first, it's got a fairly simple model here. I'm going to delete this cube and with Shift a to add a plane. Then we of course need to have a texture map so that the shading click on New. And here we can add an image texture. Color goes through base color, click on New. And here you can change the name if you would like to. And of course the width and height. This is quite important because you want to start with a higher pixel density, okay? So keep in mind, you can always put a lack of resolution lower, right? You can just go into Photoshop and just make the resolution lower, but you will never be able to create a higher resolution. It will just not look better. So in this case, I think I might do times two for both of them. So we have a two map and photographs. This should be fine. So click on, okay. Now we are going to work with a texture map and the shading should be just a few shader, right? We are only want one texture mapping here. We do not need the roughness or any other of this. So I wanted to delete the principal shader and add a diffuse note. Bsd F goes into the surface and the color goes into the color of the diffuse shader. And here we have our texture map. Normally now you need to UV unwrap this. So go to UV Editing, select everything you unwrap. And here we have a nice UV unwrap. After this, you can go into the texture paint. Now, you can see that this doesn't really work out, right? We deleted the principled shader, but we still have some roughness in here. That is because you should go in here and make sure you're lighting is set to flat. So now whatever we see on our 2D screen here is also shown here. If we look here to the right, you can see that we have some tools that we can use both on the 3D screen and honor to the annual see that even if I put it in a 3D, it will be updated in a 2D NFA paint on a 2D area. It will also be updated in our 3D area. So brushes, yeah, this is one of the brushes that we have and we can change the radius and strength down here. So if I want my raised to be a bit smaller, just do it like this. And drawn here. Now, you can also see this at a thick. And if you use a tablet, which I highly recommend, then you can use this to change the radius with the pressure that you put on your tablet. So if I put a very minimal pressure, you can see that I have a very small line. But the more pressure that I put down, the thicker the line gets, because we have enabled this pressure sensitivity in the radius section. You can also do with the strength. So let's say my radius will always be the same here. But the harder I push, the more feasible it will be. So the strength would be higher. That is also possible and you can even combine them if you want, right? So, yeah, this is a very handy tool and if you are using a tablet, I would highly recommend playing around with these. So even when you're sculpting or doing some texture painting, I will highly recommend using a tablet. The tablet itself does not have to be too expensive, of course, just take a cheap one. I personally like a Wacom a lot, but that is all up to you. What I do recommend is taking one that fits on your desk, of course, and I like the pressure sensitivity as well, right? So those two things are quite important. Now, when we go down here, we can see the color picker. So here we can change colors. Very easy if I want green, I do green, blue, blue, and it's as easy as that. But you could also go in here and use a hex code, HSV or RGB, or I can even pick a certain color. So if I wanted this purple here, I can do that just as easy. You can change these. So flip these two with x as well. So if you wanted this color, then some black over it. It's very simple like that. Now, there are a lot more options. Maybe I'll explain some symmetry here. If you want to mirror this around the x-axis, for instance, you can do that. You could do x and y events, so that was on those sides. And this is quite handy if you want to create yes, seamless textures, okay? But yeah, in general, these are all the tools that you are probably use. Mu might change some blending modes here. And maybe you want to use a texture or texture mask. But in this course we're not really going to play around with that. But it's always nice to know. Okay, so let's say we want to texture this kind of rock. How do we do it? So stylized texturing is just a very broad term because everyone has its own style, right? But there are some rules which a lot of styles actually obey by and otherwise, yeah, it actually just doesn't look good. And a lot like one of these big rules or one of the big things that every, I guess texture artist does is looking at real life examples. So when you look at a real life examples like this rock, you can already see a few things, right? We can see the rocks which have a certain size. So you can kinda see the shape of the rock. But we can also see the color of the rock. And of course the details. So the depth, let's say you can see some height details because we are not working with a height map or anything like that. We are just going to work if the fuse, we need to fake both the height details but also the reflections. In this case, that doesn't seem to be an reflections here, but we still have some shadows and some highlights from the lighting. And the shadows and the highlights we can fake also the depth, right? So if you go to blender and just grab a yeah, just grayish kind of color. Maybe we should do a little bit less blue. In fact, this, we can start to build these rocks. The first thing that I want to say is that if you work with Photoshop or substance painter, you actually have layers. So there you can have just your main layer, which just has a basic kind of color that you can put some noise on top and then you can put an outer layer. We don't have the blender, so we need to kinda think more like painters do, right? So the basic or the main canvas that we have right now, we should already think about adding some extra columns because right now this just looks quite flat. So how do we create some more color and hair so it just doesn't look this boring. Now, we can go in here, go a little bit up to the color. So I might want to add some extra light-blue, go a little bit higher into the saturation, and then just slowly started to brush on here. So put the strength and the radius a bit down and just want a very faint, small little details and you just see it kind of as noise. Now, if you wanted to have some darker details here, so darker noise, you just go lower. And I also like to go a little bit lower inside of my color wheel as well. So now instead of like light-blue, I will go more towards the purple or dark blue, right? So here you can add some extra of this. And not only does this now creates a different kind of saturation, so lighter or darker, it also adds more colors to your scene, which will make it pop weigh more. It's really important to also do this. So now that we have some noise, you can see that it's just not one boring color, right? It's not this. It actually has some variations in here. So now I like to build up and look actually at some of the shapes that we might have. So I don't want to go too much into detail with all the shapes that we might have. Because this is of course, a very small part of the class, right? I just explained to you how we can actually build textures. But let's just do some random shapes in here. Let's just do some hair will be a rock there. There might be a rock here, small one, whatever, right? You want to look at your images and then kinda recreate what they might show or what you see. And then you can kinda recreate affinity see. So here we are going to focus on one part here. Let's take this middle one, let's just do this middle one. And later on we're going to show how we come from. This is just a very simple flat kind of yeah, sketch to a nicer looking textured stone. So that's folks on this one hair. And I first want to just make sure that this looks all a little bit better. So I might go in here. And if you think your brushstrokes are a little bit too bumpy, what you could do is you could go and stroke, go a little bit lower and make sure use to stabilize stroke. So now your stroke as a little line after it and that will makes it way more smooth. It's really hard to make it so scribbly. So you can just do that as well, right? So just keep person and then you can match it up. So now we have a basic shape. What we can see now in our model is that there are some depth differences, right? Some high differences. It just doesn't look as flat. So now if some highlights and shadows, we can recreate some of this detail as well. So what you can do is make sure your dark colors still on. But you could put the strength may be at 0.3, something like that. Put a radius a little bit up. And I might also do stabilise stroke off. And not this big of a radius. But you can see that now, whenever I paint here, we create a shadow. And this shadow instantly. Creates more depth to this model. So maybe in here the WHO also has like a little bit of a lower area. So you could put strength bit lower. But here you can, you know, may put something like this here and this is a bit lower. And you can all do this with just one single color change, which is quite cool in my opinion. You can see here, there's all little bit lower. Bam. Then with a lighter color, we're gonna go next to this, a shadow, and that will make it pop if a more. So if we just change this, I might want to select this color, go up in a saturation and maybe even color again, that's up to you. And then just slowly start to put some highlights in here. So as you can see, the shadows and the highlights are so important when you want to bring your texture to life. And that is essentially going to do here. So next to a shadow often comes a highlight. Keep that in mind. And now we could also create a, maybe a crack in here. So let's go to a more of a darker color. Make sure the strength is all the way up here and put the radius bit down, maybe to six or five, maybe to four or four. And then just create a nice crack down here, right? So the cool thing about this is it obviously creates a very cool effect, which makes it look correct. But now you also really want to think about highlights again. So next to a shadow goes and nice highlights. So hair. Do we have for Highlight? Yes. Let's go a bit up and then next here we can create some extra highlighted yeah, bits here, maybe around here. So now if you start to look at where we started and what we ended up with, we can kinda see the strength of just using some highlights and shadows and some different kinds of colors into your model, right? I think it looks very cool already. Of course, we're gonna do kind of the same techniques with our swot right now. But I really wanted to show you guys why we do some of these things and how we do some of these things. So I hope you guys learned from this and now we can go on to assault and really create some awesome materials there and see you guys there. 12. Texture painting the sword: Welcome to this part of the class. And what we're gonna do here is we're going to start painting ours forth. So you can see that I first just throw down a color which kinda matches the color on the reference image, and I selected color on the reference image with S. So use S to use the Eyedropper tool. Then I ofcourse like to change a little bit of the colors just so we have more noise and it is not so bland. We talked about it before, but I am of course also doing it here. After this, you can see that I am now separating the lighter or a kind of thin blade area from the darker purple and the lighter, I guess, silvery color with a black line in between them. And then I'm just looking at the reference image, see what she wanted to portray and see what I can do in this 3D view. Now you can see that sometimes IS save this. Now one great tip here is if you are painting and you kinda wanna, you know, boss in-between, saved the file, but make sure you also save the image. Just saving the file will not save the image. So go to Image and then save as, okay, this is very important, otherwise you lose all your progress. There is not a lot that I can explain to you guys. All right. A lot of it is just doing and you can't just get into the flow of painting. So you already know kind of the painting techniques that I'm using from the previous video. And that is kind of all what I'm using here. So we're just looking at the reference image and tried to recreate it inside our 3D model. And that's the only thing I'm doing here. And in some parts which are not shown in the reference image, I just copy the techniques that I used before. I think once you follow this rule set and just keep looking at the reference image, keep looking at my video and just try to recreate a little bit hard to see and also throw in some, some of your own inspiration, of course, that you can get like very, very far with this and that. It's very nice. It's quite relaxing. Just put up some nice music and enjoy the whole process. Just a joy. And if something comes up, I'll talk to you guys and not a wise, I see you guys in the next box. Ie. Yeah. The actors. Good afternoon. And e e. E. E signature. Yes. Then those issues, happy relationships and associations. The fabric is a bit of a harder model to actually paint. And that's mostly because you have blender just calculate everything as well as other programs I feel like. And you can get these weird lines which still have the old color on them. But if you paint on it, it doesn't really paint on it. It's just annoying. You will see that my video and what I highly suggest if you're getting those kind of problems that you work a lot in the 2D view as well. Okay, So just get kind of a color down at a 3D few, then go to the 2D view and kinda smooth and everything a little bit out that helped a lot of meat that will also save you a lot of time. Then in the normal paint process, which we do is we create a just a normal flat color and then we tried to get some variation in there. The variation I did here is just the same as we always do. But I tried to kind of put this variation in lines. So I just went with the shape of the fabric. And this creates a coup fabric loop. And furthermore, we just use the same techniques. We have shadows and highlights and that we are going to use to create this pooled fabric look right in the reference image. It might seem like there is a lot of depth inside of this fabric texture, but we are working with a very limited amount of geometry. So we need to do all of this with just textures. It will look a little bit different than from the other reference image. But sometimes when you work with 2D and 3D, and especially when you're using some limitations like less geometry, we need to kinda come up with some stuff ourselves. I hope you guys understand what I'm saying. If you ever have problems, you can always ask questions. And yes, there's this kind of it, the guys in the next part, but it's not much is happening. Hi. Chapter. 13. Assignment + rendering the sword: Welcome to the last lesson of this class. And what we're gonna do here is actually kind of the assignment of the class. I want to get to renders from you guys. And that is great. You can of course also use them as portfolio piece, whatever. But I would love to see just the final result, which is just a random like this and a wireframe. All right, so we know that we have, yeah, we kinda want a low poly model is of course. Okay, if he didn't really put too much time into the low poly and all that stuff, but I still want to see it. And I also want you guys to see that a lot of times when you create a piece or maybe a portfolio piece, you have to also include a via IFrame. Okay, So just, I'm just going to show you guys how to do it. So let's start with that first, we're going to grab a camera. Here with 0. You can go into your camera view. And if you're in camera view, you can go to View and then click on View. And now wherever you move your few, your camera will follow. So just choose a position. And I think for this render we have too much open space on the left and the right. So I might want to put my output settings or the output resolution at 1080 by 1080. And then of course, zoom in a little bit more, right? So something like this will work way better because we don't have that much open space on either side. So let's now move our model in a certain way so it looks cool on camera, right? So we can maybe rotate like this. The problem is once we have rotating a model, we kinda, if we want to edit it again, it's just annoying because now the x and the y axis and everything is switched and turned. So what I personally like to do is I just like to select my whole model. Just select every single parts, click on Shift S and do cursor to select it. Now a cursors here, and we can click on Shift a to add an empty. Now, if you select your whole 3D model again, and then as less empty, we can click on Control P to set parents to objects. So now every object is parented towards this empty. And if we move the MD, the whole object will move with it. So if I now rotate it and move it around, it doesn't matter because we can do all of that. And if I ever would like to edit something, I can still just delete is empty and everything will be set back into place, right? So that is, I personally think that's a way better way of moving your models instead of moving these pieces piece by piece, because it would just give us a lot of problems if we ever want to edit something. Now, move your camera again. Maybe zoom in a little bit like this, and this already looks way better, right? So we can still move this around and suffering like this. Yeah, actually it looks quite goals. You create an image like this. And if we click on F 12, you can see that from this image, this rendered image doesn't really look at all like the image that we have here, right? So what is going on here? Let me explain. First of all, we have a background. So if you go instead of this object, two worlds, we have a background. And in my case, this color is a bit darker with you. It could have been here, right? I just played around with that. And then you have a result like this. So we have this background color, but it is also of course, emitting light. And this light is now emitting on top of the sorts and we can see the result. So how can we actually get a different kind of background? Because in all honesty, this background is doesn't look interesting to me at all. What I'm gonna do is I want to create a more of a separation between the background and a 3D model. So I'm going to make the background a bit darker. But I still want to keep the light. Because if I just put this down this color here and click on F2, you can see that now my whole image is just dark and this doesn't look interesting at all. So the way to fix this is just duplicating this background. And this top one is going to be our lining of our whole scene as bottom one is actually what we will see as background. Now, add a mix shader. So mix shader. And then they both just get connected and we'll add a light. Beth, note, the ISTE Gamma ray goes into the effect of the mix shader. And now this part here will be the lining of our scene, and this bottom part here will be the color of the background. So you can see that the lining still exclude and the color is this color. The background color is now darker, right? So I could also, oh, maybe I want it dark blue, right? So I write this. I could change that. Or I want some redness in my lighting, which of course I do not really want because I have put so much time and instructions right now and I think they are derived color. But if you want something like that in the future, you can always do that. So now the lighting of the scene at some redness students, right? So that is one way of separating the lighting, which you can also by the way, use an HDRI or whatever. And the background color inside EV. So I'm going to put this a bit darker here. And this looks quite cool, maybe even darker. But that is, of course, also up to you guys, right? This is just what looks interesting to me. And some of this would work. Let's say, then, what do we want to do next? This image I want you to send to me on Skillshare. I would love to see your finished results. And it would be cool if you have just a square image with your sort a little positioned in a, in a nice way and then a nice background and lighting on your model. Now, the next thing that I want to see is the wireframe. So how do we create or how do we see a wireframe? What I like to do here is I like to duplicate all of these models one time. So I'm just going to create a new collection. This collection is going to be renamed to wireframe, and then I'm going to duplicate this. So this, this, this, this in-between here, Shift D and then move this 2D wireframe. All right, So just move them down to the wire frame. And I'm going to select one of them and then go back into my objects and duplicates material. We have just duplicated material. We can change the name to wireframe and then remove the swot texture. Now, we have a white model on top of our normal model, but we still need to add one modifier. This modifier is called the wireframe modifier. And now we have a nice via IFrame on top of our model, right? So we can change the thickness of this wireframe, as you can see here. And the color can just be done inside of your material. So maybe do blue in this case or green, whatever, doesn't really matter. So I'm going to put this thickness a bit up. And this is our end result of this wireframe, right? And we can do this for each one of these wireframe models. So just go down them. Make sure you just select this wireframe texture and then add a keyframe, right? And you can of course, put this thickness a bit up. I personally like to keep them kind of the same, but that is how we do it. So sector, sectors last one, change the material to wireframe and then make sure you have a wireframe modifier in here. And that is that one. And I think that might be it or not, we have one down here, which is this one, wireframe. And of course, move this to the wireframe texture. So this, if you ran, this looks kinda the same, but now we can see where you have placed your edges, right? And that is one important thing that a lot of recruiters also want to see once you apply for jobs. So that's quite important to also showcase. Okay, So this is a low point model. I want to images from you guys the normal render and of course the wireframe. And then I can give some feedback. And I hope you guys learned from this and I'll see you guys in the next class. Bye bye.