Maya & Unity 3D - Modeling Lowpoly Tree for Mobile Games | Ivan Yosifov | Skillshare

Maya & Unity 3D - Modeling Lowpoly Tree for Mobile Games

Ivan Yosifov, 3D Game Artist & Animator

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11 Lessons (1h 41m)
    • 1. Introduction

      1:38
    • 2. Modeling The Base

      5:53
    • 3. Modeling The Branches

      8:08
    • 4. Finishing The Branches

      12:27
    • 5. Creating The Leaf Cubes

      4:55
    • 6. Placing The Leaf Cubes

      8:17
    • 7. Modifying The Trunk Shape

      5:37
    • 8. Create Small Grass

      2:38
    • 9. UV Mapping The Tree

      15:30
    • 10. Texturing The Tree In Substance Painter

      26:13
    • 11. Import The Tree In Unity

      9:21
14 students are watching this class

About This Class

Learn how to make low poly Tree in Maya and import it into Unity for Mobile Games.
What you will learn in this course?

• How to model efficiently lowpoly Tree for Mobile Games.
• How to unwrap the model and get it ready for texturing.
• How to create simple but appealing texture with Substance Painter
• How to Import the lowpoly Tree inside Unity and set it up to be game ready!

Who is this class for?

• People that want to learn how to create complete and game ready lowpoly 3D Asset.
• People who want to improve their skills in Maya and Unity.
• People who are interested in Game Development for Mobile Devices.
I promise that this course will be better and more effective than reading books.
I show how to master technology through the use of video.

Software that we are going to use

• 
Autodesk Maya
•  Substance Painter
•  Unity 3D

Transcripts

1. Introduction: Welcome guys to my next course, created a wall poetry for mobile games. Discourse is not for absolute beginners. You should have some basic knowledge of Maya. Keep this in mind. What you're gonna learn in this course. We're going to start by creating the tree trunk. We can move to creating the branches, move it, manipulate them. I'm going to show you how kept the good seawater and how to create it to look awesome. Then we're going to deep dive and create the crown for the tree. The crown will be consisted of cubicle shapes because I want these three to be for mobile games and I want to look a little bit more cartoonish. Then the next step will be to UV map everything, the branches, the tree trunk, and everything that needs to be coward. I'm going to show you different techniques, how to use map efficiently, and how to create a good UV mapping. For the next step would just texturing. We get a texture. The motto in substance painter. I'm going to show you there how to use layers, helpful texture with hand paint and how to make everything looks good. How to use the cowers, how to use different filters, different masks. In the end of the course, we're going to open Unity, import our three important textures, setup the materials of the lightening and everything in order to look good. So by the end of this course, you'll be able to create a Walpole's tree from scratch, from the modelling through the texturing to creating the UV maps. And finally import everything to begin reading in Unity. So if you like what you see, enrol now. 2. Modeling The Base: Welcome to my next course and let's start creating a war poetry for mobile games. In my left corner, I get a concept that I'm going to follow. And I'm going to start with a simple cube. Alright? I'm going to use the multicast T2 in the two pallets in the modelling tool kit. And holding the Control on my keyboard, I'm going to create two loops around the cube, one from each side. After that, when I have the loop's ready, I'm gonna go to the vertex mode, and I'm going to pull the vertices outwards so I can create a circle shape and imitate a tree trunk. Alright? And I'm going to get rid of the bottom faces is we don't want them and you won't see them in the game. And getting back into the vertex mode, I'm going to pull up a little bit and I'm going to align with the grid. So I have imaginary, great to be the ground. Alright, so next step, what I'm going to do is I'm gonna go to Edit Mesh and I'm gonna go to the extrude Control e. And then we're going to start pulling up. So I'm going to start shaping the tree moving left or right. It depends on your imagination. And let's create one more extrusion. Poet up like that. Maybe creates a little angle over here, pull it a little bit further up, and let's create one more, shrink it up. So I can have a thinner Bayes. Let's start creating a little interesting shape. You can just move and rotate the vertices that you've created. All right, pretty much the shape is good. Let's create one more extrusion so we can have a good tip top of the tree. And now in the trunk, I'm gonna scale it up a little bit. So because in the, in the base of the tree, it is, it's more fat, it's more stronger. Let's see how it goes. So this my base sheep of the trunk where everything starts and I'm again to soften the edges so it, it feels smooth. Alright, I'm going to use the multicast again. So let's create a branch over it. So I'm going to select those two faces. I'm going to extrude again. And this will be my branch. Just moving them a little bit like that, create one more extrusion. And as you can see, it is pretty messy. But I'm going to fix it by scaling up a little bit. Just like that to it fuse natural. But as you can see, it's pretty much a blocky shape. So I need to fix it and I'm going to create loops around it so I can create a circle shape. Then I'm going to just select the vertices from the different angle. And I'm going to start pulling them up and create a cylindrical shape. This is good to create a brunch like debt by hand because it adds variety and it's not stiff. So that's my technique when I'm creating branches, using the vertices and moving them by hand. So I can have very good and very interesting shapes. As you can see pretty easy. Just move them left, right, up and down. Or just use the scale to, let's use it on the other side and just shrink this to create the shape. And now my sites are bad. So let's start fixing these, disposing them to decide by x. Alright, just pull them down a little bit. And as you can see, it's getting up there. We're getting close to good shape. And now near the tree trunk, I need to fix it because it's the blocky to squarish. Let's just move it a little bit to the side. Let's get them to the side. Fix that. Fix these. Alright, let's see from the far end, looking good, looking blocky because I still have those sites. Fix. C from each NGO and again go to the southern edge. And as you can see, it looks pretty good. But I think I can just shrink it up a little bit. Just move it up. Move it here, maybe, maybe a little bit further out. And as you can see, I'm just playing with vertices to get the best shape from each angle. So rotate and check your angles and try to find the best shape that you can have that you can like with pulling up just the vertices. So, yeah, we have a second brunch. Let's extrude and create again a little thickness, right? Maybe rotate it a little bit. Shrink it up and create one more extrusion, shrink it up one more. We'll save it. And let's create this pretty nice shape. All right. Again, smoked it. And this is for our first branch. And I'm gonna see you in the next chapter. Thank you. 3. Modeling The Branches: Welcome to part two. In this part we're going to model the branches. So let's get started. First. The first branch that we're gonna matter will be at the bottom of the tree, as you can see in the concept art. So I'm just going to add two edge loops just like that. And I'm gonna go to the face mode, and I'm going to use the function extrude like in the previous lesson. And I'm just going to start extruding those four phases. It looks ugly because we have a quad geometry, but I'm going to quickly fix it using the vertex mode and just pooling and scaling down the vertices. And as you can see, we already care. Pretty decent shape, still looking blocky, still looking a lot of cubic. But we're going to fix it by just moving the vertices ups and downs. So I'm gonna select the vertices at the bottom, just move them a little bit, fixed this one also. And creating an aiming to create a circuit, circuit shape at the brunch. So why I am moving the vertices by hand? Why I'm not using mirror or anything like this. This is simple. There is a simple rule in nature where there is nothing perfectly symmetrical in nature. So I'm trying to avoid the perfect symmetry in my shapes. That's why I'm selecting vertice vertex by vertex and moving them by hand because I'm gonna have this pretty decently and crispy or look in the model. I'm going to add one more edge loop and I'm gonna go into Edge mode and shrink it down. So I can create this kind of fat ten shape. A good think to create the tree and the shape and to move the vertices is if you are using the viewport, the side from the top. And I'm going to go and split a little bit more. And I'm going to start pulling those vertices to create a longer branch and shrink it down a little bit. So I start creating the shape of the branch from FAT CAN fat at the core and thinner at the ads. And I just don't like the forms yet because it still looks blocky. So try to fix it. Always tried to look at your mother from different angles. Always rotate, always use the rotation in order to watch and observe your model, how it looks from, you know, from, from one side, from 38 angle degree from 1990 degrees angle and stuff like that. So I'm going to move a little bit more, those edges, those vertices, a little bit, a little bit outside. And it's pretty much starting to look like a branch. And I'm trying to create this form, this unique form. Going into the side view will help you out a lot, a lot of the times to create these shapes. And it's very simple method just moving the vertices. And trying to create the shape that you like is you can see I'm just finishing up the top and I'm going to start extruding a little bit and shaping the branch a little bit more. But first let's go to the mesh display and soften the edges so I can see how it looks and its feels good. I'm going to select the top faces and I'm going to do use the extrude function, control an e, e, remember. And I'm going to start extruding and creating some interesting shape from that brunch. And don't forget to create the thin thickness of it, as you can see, going up is more thicker than that at the core. And I'm just shrink it up and moving those vertices again, go to the merge display, sought an edge. And it's looking pretty decent. But there is one thing that bothers me is because it's super straightforward. Like if you, if you look at this, it's just like a 90 degrees angle. So I'm gonna start selecting the vertices and moving left and right, up and down in order to break up this, this see what this image, this you out a lot of detail. When a character is moving around the tree and have that depth and have that, those angles in this branch. And this branch is, is ready. And I'm going to fix a little bit of the, of the core of the tree because right now it looks salts in. And again, I'm just pulling those vertices to create cool shapes and create a little bit of different curves. I don't want my curves to be straightforward. And that's look better than before. It looks smooth, it looks organic. Ok, now I'm going to speed it up a little bit video and I'm going to explain. I'm gonna create a second brunch splitting three times so I can have again four faces. It's the same method that we've created the previous brunch, but this one will be smaller. And we're gonna need a little bit of small thickness. Again, as you can see at the start, it's pretty ugly, is blocky. But in the process where I'm pulling up and downs inside and sideways the vertices. It starts to have the shape that I want to take your time, guys, don't rush it. Take your time. Look the branches from different angle. If you don't like something, just really just constantly fix it. Just move it, and try to find the best looking branch in shape that you want. It's pretty important to have a good seaweeds and good branch direction, because when your player is going around the tree, it always needs a good, interesting points. And by creating different, different shapes, different variations in, in size, in length, in shapes like left, right, up, down. This will add a lot of interesting points. And as you can see, I'm just starting to scale it down and up to create the branch form again from the start to the end, start is more fat, the ant is more sicker. And as you can see, it looks good. But I need to fix the sideways of it to have that good branch. Right? Just fixing up over a bit here and a little bit there is, you can see pretty simple process. It's a little bit time-consuming, but the end result is pretty awesome. So I highly recommend you create these by hand. And it's a craftmanship in the anti going to end up with a pretty good-looking tree. You take up your time and don't rush it. And as you can see, my branches almost ready. I hear a problem area here that I fixed. And yeah, this is my second brunch. So guys, I'm gonna see you in the next lecture. We're going to continue developing distri. Thank you. 4. Finishing The Branches: Welcome guys. When the parse tree, and let's finish up the branches. So first, I'm going to just measure display and soften the edges from the previous session. And then I'm going to show you a trick Cao, Cao to create those branches very fast, just like the tree. And click Control Z on your keyboard to duplicate it. So again, control the click it and you have a duplicate over three. Go to your face mode, select the whole tree and weed control key on your keyboard, deselect a branch, the elites, the whole part. And then I'm gonna just align the vertices so I can hear a straight. And I think the next step is to move the pivot point to the center of the ending of the brunch. I'm doing this with the withholding the D key on my keyboard. What this pivot point, thus, let me show you a quick with this cube. So if you move the cube without coding the D key, as you can see, you can move it, but when you click the D key, you can move the pivot point. So what this does is it will rotate and move the cube from that point. Also, if you use one of the magnets or just hold V key on your keyboard, you can snap it to different vertices. As you can see, it snaps to the vertices. And if you rotate from that point or move, it will just rotate from that point. So this is very crucial to know how to move the pivot point holding de qi. And if you want to snap it to the vertices holding vk, that's the simple rule of the pivot point. So now I have my third at the start of the branch and I'm just going to move and place it where I find a good spot. I'm just holding the V key so it can snap it on some vertices for a quick positioning. And then I'm going to start to experiment and try to find where the best placement of these branches. So it will never happen with the first time. You just need to check different angles and try to position it where it feels more natural and it feels good. Right now. I'm just trying to find my sweet spot. How I, you know, I I just call it the sweet spot. And it, it's, it's trying to find your sweet, sweet spots by, by trying and error. So I'm just moving around and see how the tree looks. This definitely not loop looks the best. So I'm just trying to experiment and see the tree from the, from every angle. That's the most important case. And try to feel how the tree will fuse nature. Oh, so right now, it doesn't feel good like to have this branch over here. So I'm gonna move it a little bit down because this is a big branch and it's it should be somewhere in the middle section where the tree separates and you have the two big branches. And this could be my third big branch. So I think this a good spot. Good sweet spot for it. And how I'm going to connect it. Yeah, I think this looks good. It's not bad. And I'm just going to connect it with, again, with Multi Cut. I'm just cutting where it needs to connect. As you can see, I have 33 edges and at this point I'm going to connect it there. So I just played it and where it needs to do is just make hoes like before four-horse there in the tree, which is just the LIGO spaces. Or maybe. So let's start snapping the vertices just like the vertex and click V key on your keyboard. And just move the pivot point and it will snap again holding the V key, snapping at the points of the, of the phases that we've already good. So we're going to feel the hose. And voila, you have the host few. Now, select the tree, select the brunch, go to meshes and combine them so they are now one mesh. And the other thing is that the vertices that we connect, right now, I'm not connected at all, so we need to connect them manually. Just select them with a snap and go to Edit Mesh. Alright, click the merge button there. And now I merge those two vertices that are in the same place, but that merged. And I'm repeating this process for all the vertices over there, just merging them. Remember, because a move the vertices from the branch to the tree, they're separated. They need to be merged. Let me show you what this does with those two cubes. I'm gonna snap the pivot point there. And I'm going to show you if I select this and snippet over here with, with holding the V key. Let me just combine the two meshes. Go to mesh and click on the combined button. And now they're one mesh. But if you go to faces and double-click there not one mesh because the vertices are at the same point, but they're not connected. If you selected, select those vertices with drag. Drag, as you can see, they're not connected. You can move separate, lead them. But if you drag on them and click Merge. Now, if you select the vertices, they moved together. So those two vertices are now merged and there one vertex. And if you click, if you double-click on one cube, it will select the whole mesh because they're connected. So this is one crucial thing that you should run. Remember, merging the vertices. So connecting the branch to the tree, that's super important. And let's apply a soft edge. And it's a bit blocking some, I'm gonna need, you know, again by hand, fixing the shape, creating a circle shape and just feeling it just right. Let me just quickly fix this brunch not to be so cubic. All right, just simply moving the vertices and trying to find the best shape of the tree. Step-by-step, little by little. We're fixing oh, those. And it feels more natural if you're doing it by hand. As you can see, now it's getting to have a really good, nice look and feel. Just finishing up some of those. Maybe this one needs a little bit tweak to wake it up a little bit higher to have that form. This one is to straight up, fix it. And now we have a perfect new branch. Now I'm gonna just move a little bit to create a different shape of the branch. So it's, it's not the same as the previous branch because as you know, with duplicate it, but we still need a different angle, a different feel of the brunch. Never duplicate it and just put it like that without defining it. You need to modify it, you know, in order to feel different. So this is a step that you don't need to skip. You must always do it. So skipping the step width, modifying the copied branch is not an option. So now I'm just finishing up this brunch to feel more in, more natural. And I think this is very good looking Brunch. Now I'm going to fast-forward and just create another branch on the tree. The processes the same. Duplicate the mesh, recenter, the pivot point, start finding the sweet spot of the branch. And I think this is maybe a good way, a good spot. That's how I create, just duplicated from the original one, then modify it, find the sweet spot, and start connecting it with the multi-copy. And just selecting the vertices again. And just nab them like this. Snapping, snapping. It looks ugly at first. But when you snap them and when you combine the mesh and connect the vertices there are snapped. Then you can simply start reshaping the vertices to get the best look and feel of this branch. So this is a pretty quick process compared to the previous one where you, you need to extrude each, you know, each branch and then start to modify it by hand. And it's kinda slow. For the first few branches, you can just use the extrude option, like in the previous video. But for the next one, you can just select the tree, copy it, and make very quick branches with connection. As you can see, I'm gonna create one more branch, just copying it. And again, centering the pivot point, trying to find the sweet spot. Don't hesitate. You know, if you want to scale down the branch, if you want to move some of the vertices, if you want to create a different shape, feel free to do it. Because each, each branch should be different. And I want to find out what you can do at the end of this tutorial, how you're going to, you're going to create the tree and how it's going to go into look, of course. So feel free to experiment for free, you know, to be yourself to try and different spots, different shapes. And that's it right now as you can see, I've put the brunch too much insight, so I need to fix it and I get it, get it somewhere outside, and start to connect again the vertices. If you mess up like this, it's pretty easy to fix. Just move the vertices again and just fix them. Again, connecting, connecting everything. The next step, merging the vertices one by one. And the final step is to fix the problems that you've created with the merging can placing the, the branch. It's pretty easy because the mesh is not too dense and you can control all the vertices and all the mesh at o. Because you hear like nine loops over there. And I loops is not pretty much. We're just creating a wall poetry for mobile games. So this pretty, pretty easy and straightforward to do it. So imagine if you have a complicated mesh where you need to do this by hand, it's not possible. But when you're creating a Walpole's DAO, It's pretty comfortable to use this style and it's pretty good. Let's finish up this branch. In, I think this looks good. Create humor loops. And again, start shaping the branch because I just copy it and I need a different shape, different size, different width, and different hate of the branch. Just fixing up some other spots. And that's pretty much it for this lesson. I hope you enjoy it, and I hope I see you in the next one. Thank you. 5. Creating The Leaf Cubes: All right, welcome to part four. We're going to be creating the leaf cubes. So how we're going to start just go to create polygons and create a simple cube. I'm going to move it around, so it will be away from the tree. And now what I need to do is go to the vertex mode and select o, the edge, vertices of the cube, selecting one by one everything. Right? Here we go, we select everything and go to Edit Mesh and use the chapter vertices function. Click on it. And then in the width section, you're going to need to put 0.1. So we have a little Jennifer on the edges. Now, the shading, Luke's bed, we're gonna fix that by going to merge this play softer, harder edges. And now we have a little edge on each side of the vertices. As you can see on the concept art, it has a little smooth edge, but right now our is a bit hard. So we're going to use a bow function, Go to the Edit Mesh tab and click on devo or Control B. And now it starts to soften out. And if you drag the fraction slider, let me show you the wire here, how it's going to work. Like the bigger the number, the more software it is. The segments should be one because we are creating a war poetry and the poly count in triangles does matter on a mobile device. So segments should be pretty low, like one segment. And now if you see the edges are pretty good looking and they're very soft, like in the concept art. The next step to continue creating this cube is go to the EVA editor to create the UV mapping of this cube. So go to the UV sets and click on map one if you don't see the 2D mapping. And now the map is pretty bad. So what we're going to do is we're going to create a projection of it. Go to u, v's, and click on automatic. Now we have an automatic projection from each side of the cube and created our 2D map. Ready for the texturing. But now is our edges soft? We need to connect the parts because as you can see, we have six different separated parts. So how to connect them? Select an edge, go to, could ensue, and click on the Move ensue. And that's how you connect. The pieces together. Go to the different edge and connect, move and zoom. Selecting each edge of the cube and connecting, we'll connect the whole cube. Now, I have few left. So I'm fixing these areas because it's the edges that whichever they are not connected, but you need to connect them to. So keep connecting those edges. You create a good flow of the UV texture. This is pretty important because in the texturing park part, you could have some distortion if you don't use the habit correctly. So now I just connect everything and just double-click on the movies and go to modify and formed to unfold and relax the geometry. And then we need to use the layout function again, modify layout. And now the cube is layout from 0 to one, and it's ready for texturing. That's how you give him up your cube. And finally, you're gonna need to delete the history. In the right side you can see all the procedures that we've made, the Jennifer the sink, and we need to delete the history from the mean you modify delete history. And by the end, Alito, nice touch we're going to need to do is we're going to need to connect those edges that we've just added with the chamber. Just tried to connect everything. Because in my end, in gay marriages, what they like is triangles and quartz. So right now we're just connecting those two create quad, quad geometry. So keep connecting them to have a clear topology on the cube. And finally, at the top side, as you can see, the shading is bad if you don't connect them. Let's connect them to see how the shadings change. And as you can see now the shading is good from everywhere. So this is, for this part, this is how you create the Walpole's cubes for the leafs. Thank you. 6. Placing The Leaf Cubes: Welcome to part five. In this part, we're going to start placing the leaf cubes. In the previous video, I have just finished my cube. As you can see, we've laid out the movies. We've setup everything. One thing that I did is I placed the pivot point at the bottom of my cube. So when I rotate, I'm going to rotate from the bottom. So you can do that. In the previous section, I showed you how to move the pivot point. And now I'm going to speed up a little bit the veto, and I'm going to start placing the cubes on top of the branches. So one by one by hand, move the cubes and rotate them and place them on the branches. As you can see, I'm just trying to fit my pivot point, the center of the cube at the center of the branch, and just simply place them, rotate them, and tried to scale down or scale up the cube so you can add different variations of it. And just start from the, from the outside and going inside. So just first plays the cubes outside and then fill up the whole tree with other cubes with different shapes in different forms. As you can see, pretty easy. Just with those moving, functioning scale function and rotating, just placing them up. All right, this should be good. Let's create one more. Place it out. Over here. Always rotate your three checkout. The see what from the far. And as you can see, I just need one more cube or they're just place it like that and just check it from here. As you can see, I'm just checking it from far away so I can see how the cubes fet from different angles and just rotating, keep rotating them, you know, to place please them. Good. If you want to check your C, What you just gonna need suppressed seven on your keyboard. So you can see the c worth of the tree, which is very useful. And now I'm just filling up the top of the tree with some more keeps. Remember the cubes are laid out and they share the same UV channel. So when you fixture in the next chapter, the cubes, everything we, we already texturing at the same time because they, they're sharing the same movies. And, and as you can see, it started getting some pretty dense shapes. I'm still trying to fill up the top of the tree. And now I feel very confident than good that one, the one side is pretty much starting to get dense. Let's fill up here at the center. I'm also placing cubes that are folding because later on I'm going to create some more branches. And now. This time when it create branches, I want connect them because some of the cubes we will cover the holes where the branch connects to the tree. So right now I'm going to create another branch because I need some connections to fill up with the cubes, to connect with the cubes. Again, the same methods from the first lessons. Just duplicate three, move the duplicated branch or right, let's place it over here. And this time I'm just going to delete those and I'm just gonna place them just a little bit inside. And I'm not going to connect them because the cubes are dense enough and they will cover the seam there. And now, let's place allegro smoke cube over here. Alright, maybe I'm gonna make a little branch to connect it. It's still pretty thick. We don't have enough density in the cubes. You can see through through the tree. Let's first fixed dead little, little branch. The same tactic. Just duplicate the previous one. Move it up, fix the position, and then you again put the cube at the place of the brunch. Just like that. Say that. If you don't feel it good, you can just delete one of the part of the brunch because it won't be seen. And let's continue scaling up. I need a volume in the tree. As I said before, it's pretty not dense. And giving a scale will bring up a volume, as you can see on the concept art. Even on the concept or some of the cubes are looking like they're penetrating one to another. Distinct. I strongly recommend evading it, especially in 3D. But you can have just a little intersection. But not too much. Alright, let's separate one more. And let's place widow cube over there. So the later bids, the CD and the bottom. Let me try to fit it right? Alright, just scale it, rotate it. And as you can see, it starts shaping, it starts adding a volume and it started getting good silhouette over there. Keep doing this, but keep in mind not to create too many cubes, because too many cubes can eat the performance, especially on a mobile device. So somewhere in the middle, not too low, not too high. Just keep it something in the middle. Alright, let's place this one. Just fix it a little bit with the skill. And I always tried to counter the direction of the previous cube. As you can see, now I'm cult, culturing the directions. So if you have two cubes, one and on top of another, just counter the sides. So if one cube is on the left, just rotate the other cube on the right. It will feel good and it will add better. See words to your three. Let's try and place this big guy here. And as you can see, I'm going to need one more brunch if I want this to be there. Let's do It's brunch and just place it. I'm going to center the pivot and just place it over there. Let's try from this branch like an extension of it. Let's see. That's not working good. So I'm going to place it, I'm going to scale it up and be bigger. And I'm gonna place it in the middle, like Camilo intersection over here because this cube is big and it needs a solid, solid ground to hold on. Okay. Let's try to fix it, to rotate it a little bit. Alright, that's looking pretty good. Let's place the cube, right. Just scaled up a little bit. I'm not doing anything fancy. I'm just moving the cubes, rotating them, scaling them, and just checking constantly, constantly check the seaweeds and how it looks from different angles. All right. Just like that. Maybe move it a little bit. I'm going to delete those, those faces because they won't be seen. And let's bring a little bit different shape. Let's put that a little bit down. And as you can see, we have our three ready. Let's just create some more fixes, maybe rotate here and there. But overall, our tree is ready. So thank you guys for watching this part five, I'm gonna see you in the next one. 7. Modifying The Trunk Shape: Welcome back. In this part six, we're gonna modify the trunk shape. So let's get started. First, the trunk shape right now is a little bit too basic and it's just blocky and fat at the bottom on the create some deformations like idea for the roots. And I'm gonna do this by splitting with the multicast to creating one edge loop and then start to create a triangle shapes downwards around the base and the the core edge loops of the trunk, just like that. And then I'm going to go into the vertex mode and start Bush and pull the vertices inwards and backwards in order to create that shape of the root. As you can see, I'm just starting to create this shape. Let's move this a little bit so we can create and nice and good looking. Alright, I'm going to split here a little bit more, just like that. And I'm gonna split from here one more time. Just playing from the top to the bottom to create that shape and just moving the edges or the vertices. Let's fix this one, you know, to create that shape. All right, so I'm gonna start splitting here one more time. I'm going to select this vertex, I'm going to pull it up. This one too. It's too sharp. So I'm going to need to soften it. How to soften and just pull the nearby bird sees just like that. And as you can see, it starts to get a good shape Edit. Let's just pull this insight that is located. It's pretty here. The shadow is not looking good. So I'm going to delete this and I'm going to try to fix it. Would just pulling these major edge loop. Let's write it like that. A little bit back. Maybe it's too sharp. Let's pull this up to soften the edge to create it smooth curve. Pulled it down. Alright. Just play with it, move with them. But the idea is to create that Rudy shape. So at the bottom of the trunk there should be roots. So that's the idea. So right now, it's not looking too bad. I just need to fix those to maybe pull this up a little bit. Let's fix this a little bit too so I can hear good chip. I did bullet on y, so I need to fix it. One more thing is that I need to create a ground. So I'm gonna create a plane which will be imitating the ground. And in this way, I can see it more clearly, where were the roots are getting? So this is a good reference for you creating a plane and seeing it as a ground. And now I'm going to continue pulling those vertices and trying to fix the shape and the silhouette. Pretty simple, pretty basic but very efficient technique. Alright? It starts to look good. As you can see, the shape is a little bit too sharp. I'm going soft on it. And now let's start with the other part of the trunk. And I'm going to go and split again. Split from the core loop that we've created in the first tutorial and go down further because we need one more loop inside in order to soften and fix some errors on side. Alright, let's try and do this one. I'm going to fool them a little bit upwards, backwards. Everything is just done by hand. And again, rotate your three. Wash the silhouette and tried to create smooth and organic shapes. Avoid creating some, some sharp edges because it's a trunk and, you know, it needs to feel organic, not so sharp. Let's try and fix this here. A split again. As you can see, I'm creating from everywhere rookie shapes. So when you're walking down the tree with 3D character, this is, this is an area that will be seen a lot. So again, this is, maybe this is too much. Let's pull it back a little bit. Alright, let's Buddhist back. Let's fix this. And let's shrink over those a little bit more. Let's shrink everything. Alright. I'm doing this because I'm rotating and I don't feel it good. But now it starts getting and looking better. You can play with it until you're satisfied with the result. But that's the main idea. The split from the main core and just finishing up. So this is for this part. And I hope I'll see you in the next one. 8. Create Small Grass: Welcome back with par seven. Creating this progress. Let's go. The small grass is fairly easy to create. You're gonna need to go to the Create menu. Polygons, Click on the plane, and then on the channel box, just click the subdivisions to be one. After that is straightforward. Just scale up the plane. And as you can see on our concept art, on the left side, we have one leaf and on the right side we have four different leaves. So I'm just starting with the left side and I'm creating this one leaf. The main idea is that on this 2D plane, we're going to project a 2D graphic. And in that way, we are not going to waste any triangles are modelling this leaf. So we're just going to fake it with alpha transparency and the projection of 2D image on this 3D plane. Right now, just duplicated the previous one. And I'm going to move the pivot point at the bottom and start rotating on why 90 degrees minus 90, minus 180 and minus 270. And right now, what I need to do is just select the whole parts and try to shrink it down a little bit, you know, to create the form and start rotating them by random so you can create that shape of a, of a plant just like that. All right. That seems Q. Now I'm gonna move it and place it near my trunk. But first I'm gonna go to mesh and I'm going to combine the elements so they're one object. And now I'm just going to start and rotate and scale them up a little bit. Let's kill them on y and just rotate them. Alright, that's better. And that's looking good right now. Maybe just a little bit more like that, little bit inside. So again, we're going to be projecting and 2D alpha. So that, that's our main idea. Right now. I'm going to create a ground, just create a cylinder and delete the bottom faces and just left the top faces. And this will be our, our ground because it looks more natural. I'm going to center the pivot. And I'm going to from here modify center. And I'm going to place it in the center. So this will be my new ground. This is everything for this part. Thank you guys for watching and I see you in the next one. By. 9. UV Mapping The Tree: Welcome guys, with Beret in part eight, we're gonna UV map the tree. Let's get started. So how are we going to approach two UV map the tree? We can simply select each brunch and we're going to UV map each branch separately. This is the easiest way and the fastest way that you can UV map this tree. So let's get started first, what you, what you need to do is go to the Windows modelling editors and click on the UVA editor. In the UK editor, you're gonna see a 2D map of your 3D object. Now go into the face mode and select one of the branches. Just like that we track. All right, I have one branch selected. Now I need to map this because I still don't have u v's. So go to the UV tab and click automatic mapping. And this is my automatic mapping movies. So go into the edge mode and we're going to start connecting those edges. Go to convince you and click, Move ensue. And now I'm going to start connecting all the edges by clicking the G on my keyboard. G means repeat the less action, the last function that I clicked. So now I'm connecting with the movie SU two and I am connecting the whole map to be consistent, to be one. Alright, let's connect those to the saloon mistake. Let's connect those two. Let's connect this and connect this. As you can see, we have two at its updates are not looking good. So we need to select this edge and use another function which is cut shift and next, just cut them. Click on this. And now I'm going to connect them on the other side. So I have a good symmetry. Again, move as you, and now it looks ugly. So select all the movies and go to modify and click on the unfold function. And now everything looks good. Click on it and it automatically layout movies to be perfectly. Now I'm going to select those faces. I'm, and I'm going to click Control H on my keyboard to hides the faces so I can start working on another branch. And we're going to fast forward a little bit. So again, automatic mapping and movies you all the edges. This is done. All right, I'm going to select the next branch. I'm using very simple functions. As you can see, UV automatic. If the branch, let's move those aside so they don't intercept. And now I'm using the Move and x2 function from the view menu. And I'm assuming everything and connecting all the edges. As you can see, the trick here is to connect over the edges together so you can't have one consistent UV map. And if you have geometry. Which looks bad while you, while you're connecting, just use the unfold function to fix this. And as you can see, I click on, on formed and this branch is ready also, I just, I'm just going to hide it. And we're going to select this one. Remove this one, and again, go to the movies. Automatic mapping. I have everything else formatted. Move this aside and start. Move as you. So I'm connecting everything. Keep connecting until it is one object and it's consistent. Right? Connect, let's connect this, connect dose, connect dose. And now I'm going to unfold control you. So I can have clearer view of my geometry of unfold again, as you can see at the edge, I need to cut, Control X to cut and connect. And as you can see, it feels good and it looks good. You're aiming for a natural forms. This is the top of the branch, livid like that. Don't worry about it. Right? So I'm going to hide this one too with Control H on my keyboard. And let's continue with the next one. Let's do this one too. Again. Movies you move ASU and if, if it's too much intercepting, control you on your keyboard for unfold. All right, this one is ready Control H to hide it. Let's continue with this more one. Uva's automatic mapping, move ASU, function, connect everything on the fault, ready, select the faces so that those phases control age to hide it. And continue with the next one. Alright. Let's see. I'm going to select those faces to UVA's automatic mapping. Once again, starts movies you, if you connect different brunch, just click Undo on your keyboard and tried to connect all the pieces from this approach. As you can see, it looks a little bit messy. So I need to connect the base. And I'm going to unfold, once again. Connect those. To connect these, oops, I connected another branch. Let's connect those. Let's click and fought. And finally, at its up, connect, again, unfold. And we're ready with this one. So select the faces and hide it. Or write. Few, few more left. Let's draw it is the small one. Ok. Go to the movies. Automatic mapping, again, select an edge, unfold. I'm repeating on fault with the G key on my keyboard. One mole to connect 0 edge there. Oops. Didn't unfold again. Move it aside and hide it. All right, we're doing great job. As you can see, it's pretty fast, pretty easy way using just three functions and nothing else. Let's do this automatic mapping. And again, I'm connecting everything. Alright, they just unfolded. It looks ugly, but it shows me where the connections are. And just trying to connect all those edges. Try not to connect the, the n sides of each of the brunch. They need to be unfolded like a complete to the dimension. Now I have to get at the one side because it's, it's looking wrong. Connect this one. And I'm going to, I'm missing a few, few of those. Alright, connect them on the folds. And this is a hole, so I need not connect there. And we're going to cut, not just this one left. Alright, I'm gonna fold both this side. Select faces, hide it, and let's continue with the small branches. If you left. All right. And again, go to UV symptomatic mapping. Select the edges and Connect, ensue, or write movies, you know, movies here. Doing great job with very simple tools, you can achieve such great results. Now, I've made a mistake. I connected the border edges, which you should not do. So I undo and redo them again and unfold and move it aside. Let's try this one to see if the face is control wage. Select this one. This will be pretty easy. Automatic mapping the well-known moved ASU function. And let's connect those two. Let's connect the last one and unfold. Move this side two, and continue on with the few branches left. This is one of the branch, so I'm going to hide it. And let's finish up the few branches that left before we deep dive into UV mapping the base of the tree, which will be a little bit more complex. Again, select all the bases and automatic mapping. Move NC, everything. Just like that. Simple unfolded. Connect the pieces that are looking weird ish, and are not connected. As you can see. And it's really pretty fast, pretty easy way to map stuff. The core here is that I've separated each branch and I approach this by doing the UAVs branch, branch by branch. If a UV mapped the whole tree at once, it's going to be a nightmare because you're going to have a lot of pieces that you don't know where they fit. So this is very, very good way to UV map efficiently, in easy end to see the big, big, big, big picture and understand how UV mapping is working. So let's connect this one to. And I've just unfolded. Move it aside. Alright, looking great, looking great. And what's left? The tree trunk right here. It's going to be a little bit more complex because we have a lot of holes. So you gotta be careful. First, I'm gonna start with the base connected like that. Let's try this. So as you can see, I'm gonna need to put here control x. And I'm going to connect this just, just about right. If you have connections like that where the branches are connecting you, you're gonna try to avoid this. And you're going to, you're going to notice that this is a hole. So if you connect a branch to your tree, then this Ho, and you need to undo. Now I'm connecting piece by piece in order to see how it will look and how it will fill Control X, move it from this side. And now let's try connecting some piece. So here is the connection connected unfold and it's getting closer. Connect, connect, connect, connect, connect, connect, connect again on the full. And let's see how it looks. It looks not so bad. Right? And fought. And I think it's looking good right now. And let's see. I can try and get those faces over here. In order to create horizontal shape of the tree trunk. I'm going to cut and I'm gonna connect from this side. It's going to look better. So you're going to have, you're going to need to have a good symmetry on it. As you can see, I'm just moving, moving it at the other part. And now you have perfect symmetry on the tree and you have the host again. So right now, we're finished with, we're finished with this one, and let's unfold distress. Let's show everything right now. And we're going to start placing the UAVs in one single sprite sheet so we can start texturing in the next one. So now what you need to do is you need to move all the pieces. And let's try an algorithm LE, which is called Layout. You're gonna need to select preserved three-day ratio and click layout UAVs. And now it's going to start to lay out everything automatically. So now all my branches are laid out automatically. And now I'm going to move by hand. The, the crown, the beliefs that we've created in the previous sections. And what you need to keep in mind is that a texture spreadsheet is using the coordinate system from 0 to one on x and from 0 to one on y. So you need to fit everything in those coordinates, from 0 to one on x and from 0 to one to y. And now I'm going to move by hand each of the pieces to fill up the blank space. So I'm doing this because I want to have as much as possible pixels on each of the details. So try to avoid empty spaces and try to feel the space as much as you can. Widths, UAVs, the GIF created. Now this is a little bit big and I need to shrink it down because I don't have enough space to fit everything. And now I'm gonna startling laying them out again. As you can see, I'm just double-clicking and moving them around so I can try and fit them all in the same place at the same time. Let's see, here I have a connection that I left over. And now it's looking pretty good, but we still can get some pixels on this. Just like that. Alright? Now, what you need to do is you're going to combine the whole tree mesh, combine, delete the key S3, the lead outside, delete history, and freeze the transformation. And now we have our three ready for, for texturing. And we're ready to create the awesome textures and substance painter. So this was for this tutorial. I hope you've learned a lot about UV mapping. So I see you in the next one by. 10. Texturing The Tree In Substance Painter: Alright guys, work on Part nine. In this part we're going to texture that tree in substance Bader. So let's go first. What do we need to do is we need to select the tree, go to file, click on export selection on the checkbox. And from the drop-down menu, select a bx export. Just choose it. And then click export selection. Now, you need to put a file name. I've already exported some. I'm going to use the cartoon three filename. And now you're going to need to turn on the Smoothing Group that tangent normals and the reference. And in the bottom section, you can choose a different FBX format. I used 20162017. And now just click on export selection. I'm gonna overwrite my previous file and it's done. Now let's go to the substance painter. Click on it and we need to import our model now, goat File. Click on New or Control N, the hotkey, select the document resolution to k. It's like the normal map format. So OpenGL, use the template unit five logarithmic and click on select. Now select your model that we've already explored it and click Open. And the next step, click OK. Wait. Want two to five seconds depend on your machine and your model is inside substance painter. The first thing, what do we need to do is we need to bake the mesh maps. So go to the texture set Settings and click on the bait mesh maps. What doess represent o, the mesh maps that you can bake. But I'm going to turn off the Amitabh occlusion and the normal maps as I am not going to use them. They're turning them off, go to bake and click on it. I used the resolution to K. Click on bake. Wait a little bit. So it will bake up all the maps and it's ready. Alright, we have the maps baked. Those maps will help us to texture it more easily. The next thing is to set up the reference so we can color with the color picker. And now let's start creating Field layers and start filling up the tree with color. So from the bucket in the right side, in the layer stack, you can click the core bucket. And first, the layer stack operates just like in Photoshop. Those are layers. They work one on top of each other. You can use different modes and let's call it a trunk, this layer. Alright? So I'm going to delete the previous one, which is the default from substance pater. I'm gonna go to Properties section, and I'm gonna move this menu other bid up. Now what I want I'm going to do just click here, click on the color picker, and I'm going to choose a brownish cower from the trunk. Maybe these two lights, let's try these dark. Alright. So choose this dark one. And I'm going to turn off the hate and the normal maps from above because I'm not going to use them for the trunk. Alright? Also you can boost up the roughness to one and leave the metallic to 0, or you can just turn, turn them off. But I'm just going to leave this like that. Alright, let's create a new fill layer. Click on the bucket again and call it the leaves layer. And we're going to pick a green. I'm gonna turn off first or the other maps, and I'm just gonna use a plain base color. I'm going to click on the color picker again. And I'm just picking up from the reference may be this darkish green or somewhere in the middle will work. Let's try. It's a little bit picky and tricky, but you should choose a color that you like. Let's try from this part. Alright, this occurred there unlike So right now we have two different layers on top of each one. What we need to do is we're going to add a black mask to the green one. And now in the black mask, where we need to do is I'm gonna click for on my keyboard, and I'm gonna choose the cube in the left of core. What this means is I'm going to paint odor cubes white in the black mask. You can variation from 0 to one. And now what I'm going to do, I'm just going to click on the walkie leaves and they alternately green. It's working just like in Photoshop. Ok, the next thing, what we need to do is we're going to need to create an empty layer. And on this empty layer we're going to start drawing some breakups of the cower in the leaves. So in the carers section with the color picker, and I'm going to pick some dark or from the shades of the concept art. And with the default brush changing the size in the upper left corner with slider. I'm just starting to fill up the cubes with cower. Remember, in the previous sections, we've created the movies to be overlapped. So we need to draw on one cube. Everything on that side will be drawn on the other duplicates, cubes that are in the crown of our tree. So this is a very good way and it will save tons of time if you need, need to, you know, paint each cube separately. So right now what I'm doing is I'm going to paint each side of the, of one cube and automatically they're going to be painted onto the other cubes. And as you can see, I'm just filling up with cower with some strokes. Don't worry about how it looks right now and that you can see the lines. Because later on we're going to use a blur filter which was soft on everything and which will break up the cowers. So I'm just filling up everything from each side so I can add the breakup cover in each of those cubes. And as you can see, it starts to feel a little bit different, but it's still too blocky. You can see the lines, you can see everything here. But as I told you before. We're going to fix that. So right now I just finish up my fourth side, two sides left from the bottom, from the, from the right. And just filling up some of those cubes with little bit more. And again, by holding Shift and the right mouse button key, you can change the light direction. I'm just going to finish up the bottom section. As you can see, I'm going to need to add a black mask again, just to isolate the, the tree leaves, just adding a black mass click for on your keyboard. And with white cover, just click on, on one cube and you isolate the leaves from the rest. So now with shift and right mouse button changed the light. See how the cowers R from each side and try to fixed some parts that you don't like or write. It feels pretty good. Right now, we're gonna do the same for the, for the trunk. We can isolate the trunk with the same technique looking for and just clicking on the trunk. And we're going to select some white cowers. And I'm going to do the same. Let's select the brown. Let me try and select it right now. Just like that. Alright. So now my brushes is in brown and we're going to start creating some, some stripes, some strokes on the trunk in order to create those shapes, like in the reference. Remember, I'm going to blur everything so I'm not going for that. You know, realistic look in there. I'm just going to paint a little strokes and then I'm going to blur it just to add a difference in the cower. So let's start. I'm using a tablet, by the way, it's the cheap one and w1. And as you can see, it adds a pressure sensitivity when I'm doing strokes. So just watch the reference and tried to improvise and create the, the lies at the three. Keep in mind that they're more at the bottom. And if you want to change the light, Shift hold Shift key, and the right mouse button to change the light. Just drawing a little bit more lies. And following the shape of the tree. As you can see, I'm just following the curves and adding some strokes. They look pretty ugly. But later on, we're going to clean this up very easily with just want filter. So don't worry too much about it. The, the thing that it's very important when you paint something is that you need to have a concept art or references. For example, if you're making something from the real world, like maybe a military radio or something else. You need to have. Collect as much references as you can in order to see how the colors are there. You know, to get the feeling of cours, to see the details that the radio needs. So having a concept art right now helps me a lot because as you can see, we just color pick the green and the brown and the course are already there and not starting to experiment with them. I already have them in the concept art. So always tried to help references or concept art. It will be very, very helpful to you. As you can see, I'm still drawing some of the white parts of the tree and I am just following the curves. And as I told you, the concept art is forcing and telling me what to do. I'm going to create a new layer again. And I'm going to do the masking again on this one. So I can go and add a black mask. Click for my keyboard and apply a white car to the mask. I'm going to choose Right now a darkish brown cower, so I can break up a little bit more the cowers, let me try to pick up something from here and from the platinum. Alright, this didn't work. So let's try maybe something from somewhere from here. Alright, let's try stride different one. It's too picky. But as you can see on the color checker, you can check which cover the color picker is getting, and this one is feeling good. And I'm starting to fill up the tree with this brownish color. You need to click on the layer first. Alright, just make it a little bit more dark. Let me zoom in. I'm gonna need to put my stroke capacity 200 and my flow a little bit up. So I can start to paint the scale a little bit the size. And I'm just going to paint on the outer side of the white that we've already paid it. So I can add this dark cower. But just on the outer side. What I am doing this is because when I apply a blur filter on both cowers, between blurred the white and the black and they will blend. So that's why I'm adding two colors because they will blend and the third cower in the base of the tree will blend with them. O, two. And when you blend the three colours, it will look just natural. It will feel very, very good. So I'm just adding this to my other side of the tree again, but using just hand, my hand and my tablet. If you don't have a tablet, it's perfectly good to try and create those lines with a mouse. It's not a problem because we will apply the blur filter. And, and if you have some sharp or some errors, it will be blurbed. As you can see, I'm not just I'm just following the outline. I'm not. A too picky about it. Or words plays the black, the black, dark brown. And I'm gonna continue painting on the outer lines of the white. Alright, it looks good. It starts to look good. And let's check it from another perspective. And right now what we need to do is we're going to go to Add Filter, remove the layers and leave only the cower and, and just type blur. Click on the blur filter. Right now, let me show you what it does. It starts blending and blurring the code that we've already created. So I'm going to try with 0.7 and I'm going to add a blur filter to the other layer two. And as I told you before, they will blend perfectly. Alright, I've already typed filter, click on it and try to tweak the parameters. And you need to blend them together. So one of the filter can have 0.7. the other can have won. It depends. You need to play with the settings. But it's pretty easy. Just drag the slider, see how it goes. See what the best blending is good for you. So 2.4 is good. Let's try the first one. Let's just blend it a little bit more. 1.9. It is. You can see there is no sign from the ugly lines. I'm just going to play a little bit more with them. And I'm just going to try and move. The posture of the layer is just like in Photoshop. This is the opacity. Then we try and put 65, maybe somewhere around hundreds or 80. All right. And as you can see, we've created very soft, very soft bottom at the trunk. Now I'm going to apply the blur filter to the, to the dark hour of the crowded we've created. Let me try and just let it, let me zoom a little bit so I can see what's going on. As you can see, it starts to blend with 1.8, you know, feel and you don't see strokes that we've already done. All right. This looks pretty good. I'm just gonna play a little bit more with the with the trunk. Something like this, 1.5. Let's see how it's 0 at 1.05. So guys, just play with those values. See what's, what's best for you. I'm just playing with them a little bit more in order to make it feel good. From that, the angle changing the light again would shift and the right mouse button. And right now I'm going to add one more layer because I need a darker color at the bottom of the trunk. And we're going to mask again. And I'm going to cover pig. Bottom of the trunk because the bottom of the trunk will be connected with so you know, Mother Nature or wherever you place your three. So it has to be with a little bit dark scour. Again on just the simple layer next to the bucket. I'm, I will start drawing with that cower. And then I'm going to apply the blur filter. I'm going to scale it up a little bit so I can draw a little bit bigger. And I'm just gonna draw at the bottom of the tree just like that. So I can feel only the bottom of the tree where it will be connected with something, you know, if it's CRT or if it's anything else, where do you place the tree or right, just filling it up a little bit more. As you can see, the blur filter on the previous strokes is working great. And when you see the tree from far away like ten to 50 meters, it will feel very natural. And this is a perfect tree for cartoony games with not too much detail, but only with shading. All right, so I'm going to add a little bit more strokes here. Let's check out the angles. Always check out the angles, how it looks from different angles. And shift with the right mouse button and change the lightning so you can see how the tree lightning is working from different angles. All right. So let's create the spirals on the lease. I've just created a new layer. And i'm going to add a completely black mask because I want to paint by hand what details to be shown. So on the mask tab, you just need to click on 0 and click on the leaves. So right now my mask is completely back, and if I draw in the mask with white, it will, it will show the green color. Again, I'm going to need to cover peak, some green. And I'm gonna use my reference from before. So that's why it's good to have reference. And I'm gonna go to the base color, and I'm gonna select the color picker. And I'm going to choose something from the spirals on the concept art. So this is a good car. I'm going to click on the mask. And with the white said the grayscale to be one, not 0 in the right menu. And I'm just gonna start drawing by hand some spirals. Let's try and create the first one. Just like that. I'm using Shift key. I'm holding Shift key on my keyboard in order to create a 90 degrees spiral. So I'll just click at 1 and select the Shift key and hold the Shift key in order to create a straight line from the starting point. Alright, so I'm going to check out the spiral looks. It looks good, but I need to add more detail. Let's try just like this. And the good thing is that if you don't like the curl cower, you just Change the fill color of the layer and everything is done. You don't need to paint the spirals again with different colors, et cetera. That's why I use fill layer with the mask. Alright, let's create my second spiral. Again, holding the shift key on your keyboard and just clicking will create those straight lines. All right, maybe these spiral looks good too. Let's check it out alone like the cover, but I'm gonna change it later on. Let's continue making the spirals. Maybe delete some of this in creates a little bit different shape. To feel more, more CPU, just like that, just like in the previous one. Let me try and create a little bit of shaped like this. Alright, let's continue with the next side of the cubes. I'm just free styling. I'm not taking the concept into consideration because I like to bring my ideas for the spirals. I strongly encourage you guys to do the same, you know, to create your own spirals, own vision, you can of course, use different color, maybe some bluish or something else that you have in mind, some pink. Just experiment. It doesn't need to be agreed three, you can create the pink tree, a blue tree. Just use different colours. In create some grids though from your imagination. Have right now three blocks ready. Let's change the light and let us see how the tree looks. Alright, it looks pretty decent. It starts to get that feel like in the concept art. Let me just bring up, bring down a little bit this layer and blurred a little bit more. Maybe unless, again, those savings are there to experiment with them at any step. Because when you're finishing up the tree and the cowers, you always need to experiment and match everything on three each, each layer that you've created mismatch with the other layer, the base, the base point is to feel natural to look good. So going back and changing some of those savings is a good idea. Because in the process where you create, where will you create a tree? You're going to like something and you're going to dislike something else. For example, just created the spirals and I don't like the trunk, so I go back and change his trunk. So let's keep up and just finish up the spirals. Alright, let's create one more. Again. At any point, you can go back to each of the layers, change the colors, changed your past, each change to blur settings. And by playing with those, you're going to have the final look, the coupons. You don't like the spiral because it's too small as trying to create maybe a bigger one. Just like before. Let's try to create something interesting like a Z shape. Something like debt like that. Let's, let's get some branches from here to there. Because it looks coup in my head. Let's see. And as you can see, the tree is starting to get really good. Look, let's try and finish up. We have two more blacks. I'm just filling up with one more spiral here. Again, just holding the Shift key and try to create different spirals. It, each of the cube sets. Because you want that difference in your tree to look good. Alright, it looks pretty good with those symbols are there, with those pretty cool spirals, right? So we have one side left, but I'm not going to put a spiral out there because it's the bottom part. And the bottom part is the connection to the branch. So I don't need a spiral over there. I'm just going to move my layer at the top of the stack. So it's a little bit more organized and it just gonna continue playing up with the blur filters on the other, on the trunk and on the green on the leaves. Just play with it guys and try to have the best feeling and the best shapes and blending between covers as you like. Its pretty simple, just use the blur as you can see. And I think my three looks pretty good right now. So this is pretty much how you texture the tree. And now we can export it. Click on export texture. Select the configuration Unity five, select your folder. This will be the textures that are going to be exported. As you can see, metallic normal emission and albedo. And in the upper, just select your path and click on export. Click export. And now your textures are ready. So this is pretty much how you texture the tree. As you can see this render or the tree, how it looks. And in the final part, in the next one, we're going to import the tree in unity and finish up this tutorial. Thank you guys for watching and I'm waking you in the final part by 11. Import The Tree In Unity: Welcome guest parts n. Where are we going to import the three in unity with the texture that we've created. First select the tree that we've exported and the textures, and just drag and drop them in unity where a little bit so it can import. So it's ready. And then we're going to start creating materials. Or right-click, go to Create and click on material. I'm going to name this cartoon tree for the name of the material. And I'm going to right-click and create one more material. Alright? And I'm going to call it ground. I'm going to start connecting the textures. Just drag and drop the textures to the base map and just shrink down. Earnest, I'm using workflow mode, metallic and rendering, rendering faces. The front. I've connected the ground, so I now have to connect the cartoon tree. Again the same, select the material, drag-and-drop the textures to the basemap, shrink the smoothness, and just going to call it cartoon tree or write. The next step is to drag and drop your cultural tree model onto the scene. Just drag and drop them. And as you can see, my scale is to 0. So I'm just going to go and select the FBX file. And in the C factor, I'm going to prove 50. And now I just scale up my tree and it's immunity without textures. Now I'm gonna go to GameObject 3D object and create the plane so I can simulate the ground. Just a quick test of how it will look in Unity. Alright, just like that. And now I'm going to place the texture on the tree for selected tree and drag and drop the, the material. And I'm going to tweak a little bit the lightning. Let's try with 1.4. Yeah, thats suits. Looking good. Select the ground mesh and just drag and drop the ground material to see how the ground material looks. And now I'm gonna go back to Maya and export my circle grant plane. And I'm gonna call it cartoon ground tracking. Use it into Unity. And again, I'm just going to select my EBX drag-and-drop. And I'm going to replace the plane. I'm going to just replace the mesh. So open the mesh and click right here or right, it's not gonna work. So I'm going to delete it and I'm just going to drag and drop it. But first I'm going to put 5050 units. All right, so now let's drag and drop ground. Everything seems good. Drag and drop it. And I'm going to reset all the positions of the cartoon ground and the tree so they can be 000. And now my Cout, calcium ground is a little above the tree and I'm going to start and place it where it should be at the bottom of the trunk. Drag-and-drop the material until the mesh. And now it's looking good, but I need to scale it up a little bit like debt. All right, that's pretty good. Scared a little bit down. So it can feel better. Now the next step is to export the grass. I'm going to go back to my select them and just explore them. I'm gonna call them leafs. I'm gonna go back to Unity. And again, drag and drop your bx exports into your project. Drug, drug them on the scene, but firsts after 50, so they all fit and be the same size. And now just drag and drop them onto the scene. I'm going to place them 000 and we're going to move them a little bit down. And I'm going to start positioning them in the bottom of the tree. Just like that. Moving them and trying to fit the position that I like, something like this. And if you open the group in unity in the left hierarchy, you can select them individually and just move them one by one. Now, I'm going to create a new material. There I need for the leaves. And I'm gonna call them leaves. And I'm gonna drag and drop the textures that I've included in your materials for this tutorial. And I'm just going to apply the material to those meshes just like that with drag and drop. But as you can see now they're opic and I need to make them transparent. So just changed the opaque to transparent. And I'm gonna start selecting each leaf individually so I can create better shape. I just group them in mile, as you can see, it has a father and their child's So a costal, the, continue checking how the leafs Looks. And I'm going to shrink down the smoothness. And I'm just going to try and position all the leaves. Of course in Unity, you can copy and paste the leaves and create new one if you like. And I just positioned them right, right. Like that. It looks good. Maybe just a little bit too dense to short. That's why I duplicate this one. In order to put it right there. It's to zoom in. And as you can see, it looks nice in the bottom. Just shrink it down a little bit more. Yeah, it's getting to look good. All right, so let's finish it up. Go to your lightning settings in unity and just start playing with the intensity MOOC poor law. Multiply what intensity multiplied does it. This is the light from the ambient source right now, my ambient source, a skybox, and it will feel where there is a shadow in my tree. It will fail with ambient light. So just play with with a settings with the val and tried to find the best look in your opinion. I'm just gonna try with different values and with a skybox source, there are two more sources, the gradient, where you can pick different colors depending on on the object and a cower. Or you can pick a specific cower. But I'm just gonna go with the Skybox right now. Alright, the second tab is the environmental reflections. We are not using reflections as we are using a Cartesian tree, so we don't have reflections. The next step is select your main camera and in the inspector, select on a solid cower, what he needs to do is I want to have a solid cower. And I'm just gonna go with something like gray, something in the bottom. It's doing that. Let's try something like this in order to look good. Alright, with this grey, it looks good. Alright? And this, this kind of starts to look good. Let's tweak a little bit more the lightening. Go. Go and select your sunlight and start rotating it. Go into the game view. I'm going to position it 000. Alright, and now you can see where the race or hitting. I'm just going to split my screen and start rotating the lightning to find a good angle where the lighting is going. Alright. You can play with the strength. So I've put a little bit more strength in the shadows. As you can see, there are more black. And I'm using the soft shadow. Let's try the near plane. Or just shrink down a little bit strained. 2.5. just play with the settings, guys tried to find the best lightning that you like, the best colours, the mood that you want, destroy wood, 1.41.2. You also can change the color of the lightning. If you click here, you can select yo cower, green cower, read one, whatever you like. I'm just going to stick with the white one. So this is pretty much about this topic and this tutorial. Thank you guys for watching it. I want to see your war poly trees when you're finishing up the tutorials, share them with me so I can give you feedback and try to create something different than mine tried to create with different colors and different stuff. Tried to create a different mood and different environment lighting. Thank you guys for watching and see you soon in my next courses. Thank you. Bye.