Retro Robot 1/3: Modeling from Concept in Blender 2.9 | Daniel Kim | Skillshare

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Retro Robot 1/3: Modeling from Concept in Blender 2.9

teacher avatar Daniel Kim, 3D Artist and Designer

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

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

Lessons in This Class

15 Lessons (1h 43m)
    • 1. Introduction and Series Overview

    • 2. Lesson 1 Rough Block In

    • 3. Lesson 2 Refining Head and Torso

    • 4. Lesson 3 Refining Arms

    • 5. Lesson 4 Refining Legs

    • 6. Lesson 5 Refining Claw Hands

    • 7. Lesson 6 Additional Geometry

    • 8. Lesson 7 Modeling Antennae

    • 9. Lesson 8 Cleaning Up Geometry

    • 10. Lesson 9 Marking Seams Pt

    • 11. Lesson 10 Marking Seams Pt

    • 12. Lesson 11 Organizing Geometry

    • 13. Lesson 12 Convert to High Poly Pt

    • 14. Lesson 13 Convert to High Poly Pt

    • 15. Lesson 14 Prepare for Export

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About This Class

When it comes to most 3D art, it all begins with a piece of concept art. Something you drew up yourself, a piece of art you found online, or perhaps one given to you at work.

In this series of classes, we'll be starting with a simple shaded drawing of a retro sci-fi themed robot. With the concept art at hand, you'll begin interpreting and translating it to 3D as faithfully as you can. Then add additional details to fill in the gaps left by the concept art.


Choose your own materials and colors, decals and weathering effects to bring the 3D art closer to life. Hook it up to a simple rig and give a dramatic pose, then top it off with equality dramatic lighting. Finally, render out the final image.


By the end of this project, you'll have brought a flat 2D concept art to life as a fully realized 3D art.

In order to help you accomplish all of that, this series of classes will guide you through the following major steps:

  • Modeling hard surface character from concept art

  • Converting low poly mesh to high poly mesh

  • Baking high poly mesh to low poly mesh

  • Photoreal texturing of hard surface character

  • Rigging and setting up a dynamic character pose

  • Cinematic photo studio lighting and rendering

The tools we'll be using are:

  • Blender 2.9

  • Substance Painter

A summary of the skills you'll end up with after finishing the series:

  • Ability to translate concept art to 3D

  • Knowledge of photoreal texturing techniques

  • How to pose and light characters for beautiful renders

Meet Your Teacher

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Daniel Kim

3D Artist and Designer


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1. Introduction and Series Overview: Hi, I'm Daniel Kim, and together we're going to learn about how to create this retro robot character. Starting from this piece of concept art, I'll start off by creating the low poly model in Blender. Then we're going to convert that low quality model into a high polygon version. And that's going to come in handy later when we're texturing. So we can break down all those nice edge details. And this texture painting worse will be done inside of Substance Painter. Afterwards, we bring it back into Blender where we can set up a simple rig and pose the character for some nice renders. And this is the final result. Right? Let's get started. 2. Lesson 1 Rough Block In: Hi, this is Daniel Kim. Welcome to this course. We're going to be covering how to create a simple retro style robot. We're going to of course, take care of modelling inside of Blender. And then we'll handle texture work in Substance Painter. That's really my favorite combo, is to go from lender to substance and then back to Blender. For final renders. I will provide concept art for this robot we're about to build. It's intentionally simple in terms of the shape language. And it's also got some cartoony proportions. So that further ado, let's get started by creating sort of the most obvious shapes, which be the spheres that make up really most of the torso for this character. So we're gonna go on this upper left tab called Add mesh and UV sphere. And what I like to do at the very beginning is start out with very faceted low-resolution primitives to make it easier to adjust later on. And actually, let me quickly add in armature rig to quickly get a sense of how big to make this character. So I just wanted to find out what's like a normal human height based on this rig and how I can get rid of it. It was under the same tab, Add and armature fetal and see armature option here. You can go to Edit Preferences, Add-ons. And then this long list of add-ons you can check on or off, look for rigging, reify. And having that checked on, we'll have the skeleton rig available for you to just add into your scene. All right, so moving on. Let's copy and paste that sphere to create the chest. Repeat to create the hip. And then I'm going to do that again for. The shoulders. All right. Now the most approximate primitive to the lens would be cylinder. So we're going to add that primitive type. And again, I'm going to bring down the detail way down in this Settings window here in the bottom left corner. Scale it down, bring it into position. Stretch it up and down to make our leg copy and paste it to the other side. Copy and paste to make arms out of these. And then the feet look like hemispheres. So I'm just going to grab one of these spheres that we already have. Select the bottom half. And there we go. We've got some feet right there. And let's add some claws for the hands. Might start with the cube, actually. Just extrude faces and shape it into cloth. All right, Copy Paste. Okay, So what we did just now is we finished blocking in our character. And this stage of the modeling process allows us to just quickly whip up the approximate shapes that we need. And once we have that end, that allows us a chance to take a step back or mounded and check that we're happy with the overall shape, proportions. And the idea really, we're checking to see if the, the concept works. I think this is a good start. Pretty happy with what we have. We can now continue to detail out these primitives so that it'll fit much closer to the concept. Art. 3. Lesson 2 Refining Head and Torso: So first, let's begin at the top with the head. Again. Notice saying that the concept, it's not a perfect circle, it's a little bit flat and wide. I'm going to apply smooth shade. And it's going to get rid of the fascinating. Let me add some, some cylinders to form the ears. Now, since this face is inside the head and can't be seen, will get, go ahead and erase that since we don't need it. And we're going to make it taper slightly outwards. Apply, Shade Smooth. And I'm going to go to the Object tab, hit Apply. All transforms. And in that basically zeros out everything under the object properties. Location, rotation, scale, everything 0 here if one here. And what that'll let me do is do a clean mirror modifier, which is going to save us from having to repeat the same work. So that'll do it for the ears and bring it down slightly. And let's move on to the chest. We can get rid of these faces at the top, which we can't see anyway. Same with these faces at the bottom, which we also can't see. Let's apply Shade Smooth from the object context menu. And again, judging by the concept, I don't think it's a perfect circle. It's a slightly squashed. So apply that scale in the z-axis. And then let's go ahead and model the color, which you can see in the concept. Let's pull this out. Add another edge loop, which is this button. The shortcut for the K-map settings that I have, which is industry standard, just happens to be all see. Someone let it flare out. And now we got a bit of a lip here. Add or mark this edge loop sharp. But in order for that to show up, I need to hit Object Data Properties. Open the normals and check auto smooth on. Let's bump this up to 60 degrees. So far, so good. Let's keep on moving down the torso. Deletes extraneous faces. Scrunch in the z axis. Apply Shade Smooth. Add extra edge loops in order to create a rim. Like so. And let's select this edge and market sharp. Again, check on auto smooth. The degrees to 60, which all that is is the lower it is, the more sensitive the shading, those smooth shading will be. Actually the opposite. The lower this value is, the more edges is, it's going to automatically keep sharp. And then if I bump it up, it's going to apply smoothing more aggressively. 4. Lesson 3 Refining Arms: Move on to this shoulder here. Now, I do want to be mindful of topology and kinda oriented. You notice this is kind of axes. Is, it has an axis that's straight up and down. I want to orient it to point towards the body of a first. I notice again in the concept that's not a perfect circle. It's kind of squashed, slightly squashed circle. So once I apply that scale adjustment, I'll go ahead and rotate it and point it towards the chest. Okay. Something like that. Let's select these hidden faces, delete them, and apply Shade Smooth. Of course, we need a sort of a band or a ring object to create this joint between the shoulder and the chest. We can use parts of the geometry on the shoulder. To do that. Let's select this edge. Spread it out a bit. Not too much. Still gotta keep it inside the chest. Let's add an edge loop. Expand that. Maybe another visual appear, another one here. Let's get rid of this one. So now we have auto smooth 60. And now we have the effect we're going for. Of course, want to save ourselves the trouble of repeating what we just did. Let's just take this number two. I'll show you what happens when you apply a mirror. Before you apply Transform. See it just kind of just kind of mirrored in this axis because the pivot is still in the center of the object. So you'll see what happens now as soon as I apply all transforms and sets that pivot to the center of the scene. Now it's going to mirror across this plane. So we got our shoulders all nice and detailed out. And I think we need another sort of a ring loop here on the shoulder piece that joins the arm. You think an easy way to create that would be just to select the ring that we already have on the shoulder. I selected this, this loop just by double-clicking and JSON faces. And now I'm going to expand that selection with the arrow key. And I'm going to hit the duplicate key to move it away. I'm going to rotate it, resize it, and fit it at the bottom here. Let's hide this for a moment so I can get a better look at what's going on here. And right now it's this is like I'm blenders considering this one big object, I'm going to separate it by selection. So I commend it, built this separately. Let's set the origin to geometry. Turn off mirroring for now. Set origin to geometry so that when I want to move it around, I don't have to use use a manipulators all the way down here on it, right where the object is like so. So yeah, let's move this around, make sure it's sitting where we want it. Also, I want to pull this into the shoulder objects so that we don't see this edge. I'm gonna see if I can set different modes for the transform orientation. So selecting normal allows me to have this manipulator orient to the direction of this ring. So I'm going to pull that up into the shoulder. And now everything's airtight. Me unhide that arm from before. And since we're already on the arm, let's just continue with this. Now the concept is showing me that the arms are a lot more slender than how I have it initially blocked out. And just to maintain this this sort of slightly flared out angle of the shoulder, I'm going to rotate the arm to try and match that. I wanted to intersect with the existing GO. And let's grab this edge and bring it in. Again to make an air tight. We don't want any gaps. Okay. And we can delete these faces on the ends. Yeah, just delete the faces. Let's apply Shade Smooth. And then four, we do the hand. Let's mirror what we have so far. Let's see. Supply transforms for both those objects apply the mirror modifier. 5. Lesson 4 Refining Legs: I would get rid of this because we know we're going to, after we work on this, will just mirror it to the other side. And we do need a ring lip around here where it meets the leg. So for that, I'm just going to copy what we already have since it's very similar. And I'll grab vertices, scale it up, rotate it, fit it onto the hip, make sure it's airtight. And maybe I can scale it up just a tad more. Looks pretty good. Now, I want to delete faces on both ends of the leg. Apply Shade smooth. This doesn't need to be all the way up here. You can bring it down like so. And it would help to fit the leg inside this socket if we just rotate it out a bit like that. Now, this stat button is very handy. I'm going to switch it to vertex, make it snap to center. And then that'll allow me to snap the center of this object to a vertex that I know is sitting up there, right? This, this vertex, this edge loop. Go in and make little adjustments to make sure we fill up any gaps. Right? It's got to be air tight. Fact, let me grab these edges and just bring them in to be safe. So we can pull this up a bit. Doesn't need to be this long. Alright, so sometimes when you set the transform orientation to normal, it will change the orientation of the manipulator tool. As you expect it. Sometimes not. See if I select Normal, it's like kinda off. So it's worth trying a local. And in this case it's giving me what I want so I can just pull it up and it's going to the it's going to move in line with the direction of the leg here. Going to bring it up to about here. And make this thinner in one axis. Okay, let's work on the feet for a moment. So we definitely don't need the top faces there. Let's get rid of that. And this needs a bit of a soul or like cushion at the bottom. So let's extend the bottom most edges downward. And now I'm going to switch the snap to setting to increment and then check on absolute grid snap. What that's gonna do is see this grid in the scene. That'll allow me to snap onto that grid. And I know that this plane is where 0 is at the y-axis or the z-axis, which is essentially where the floor is supposed to be. So let's close up this opening. We could use the bridge edge loops action to close it out like that. And let's double-click and select this loop of faces, which we want to extrude. Now. When you press the hotkey for Extrude multiple times, note, notice it cycles through different extrude modes. I want one which will extrude these faces. I selected perpendicular, this outwards evenly. And that's gonna give me this, this soul at the bottom of the shoe, I guess you could call it. Let's get rid of this edge loop since we don't need it. And we need need a ring around here. For the transition between leg and feet. Something like that. Let's apply Shade Smooth and auto smooths. Let's bump this up to 70 so that everything smooth up there. And then we're going to select this edge loop on the outside of the ring March chart. And then now we have the effect that we want. Alright, so they'll probably do it for the legs. Now, we can grab these two objects, apply, transform and mirror it across the other side. You can just do it one at a time. There we go. Okay. 6. Lesson 5 Refining Claw Hands: Let's get to the claw hands. Now looking closely at the concept art, I'm thinking maybe be easier to start with a cylinder with some more detail. Because most of those shapes in the claw are kind of circular. So let's bring this cylinder in. Scale it down, position it. Notice I just switched on the snap mode with hockey. Just switch it on and off whenever you need it. And one thing you want to align something like I wanted this to be straight with the arm. That's where the snap mode is very handy. And then you can turn it on, right when you need it and turn off when you don't. Okay. Yeah. So for the first joint that connects the clause with the risks here, looks like a small cylinder. So that's when I got here. And then to create the actual clause, I'm going to create an even bigger cylinder. Just, just wider really. And let's select the faces on both sides of that. This new cylinder hit the hockey for inset faces, which will let you do this. And then bridge faces. Just delete these bottom faces here to break up the loop. And now you've got the round clause. Since we have that, we can definitely get rid of these placeholders. So don't be afraid to use the, the rough block in use as much of it or as little of it as you want. You know, we made use of block in or the initial block in objects for the actual geometry. But in this instance, we found a better way to make the deal detailed version of it so we can just scrap the block and just think of it as placeholder. Now, this claw, I like the shape and everything, but in relation to the rest of the character, It's a bit big. So I'm going to scale it. Play around with the scale. I think something like C. Around there. That looks good. I I don't forget. Now we got after we deleted the faces, the bottom here we've got this opening. Let's seal it up by bridging these edges. And actually, what we can do here is hit the hockey for bevel. And then delete these faces that are inside the this joint. Okay? Apply shade smooth, ply, auto smooth. Let's see the opening at the end of the arms here. Same trick we used earlier. Bridge edge loops. Let's go ahead and match the, this, the orientation of these clause with the angle of the arms. You can just eyeball. It. Looks good. Looks like we forgot to apply auto smooth to the arms there. We need a little ring joint. The wrist. We can just use part of the arm by adding an edge loop. Double-clicking to select the edge faces at the end here. Let's extrude it out slightly and switch the transform orientation to normal. There we go and then pull this out. So we have a bit of a bevel at the end there. Same with these edges, like so. But I want these to be sharp edges. So I'm going to mark, oops, not mark scheme, mark sharp, k. Let's apply transform to the, the claw. So we can apply the mirror modifier. 7. Lesson 6 Additional Geometry: We're almost done modeling, we're not quite done yet. So a few more details that we need to add. Fact. I think what I wanna do, these earmuffs are a bit low res. I think 88 sides might not be enough. Let me redo those earmuffs with the cylinder that has, say, ten sides. And then we can use this same the same era of object for what looks like very similar shapes on the shoulder and then the chest there. K set this to snap it there. Okay. Now we got that and let's get rid of these old earmuffs. Shade Smooth. Mark, sharp, normals, 60 degrees. It looks much better. Let's copy this. Move into the shoulder. Adjust the rotation. Like so I need another one for the chest. Cfs the right position and now a little lower. Actually. Maybe somewhere like that. Maybe even lower that somewhere around there. And I think that does it. Yeah. That looks like the right place. Okay. So it's the same deal as before. A transform on all of them. Now, since we have a lot of or multiple objects that we want to apply the same modifier. What you can do. And you can just imagine a situation where you don't have just two or three, maybe you have 10. And you don't wanna go through the tedium of applying the modifier or one at a time, especially if it's the same modifier. I have all of these objects selected. One of them has a modifier that I want. And then under the Object tab, Go to make links and choose Modifier. Okay, one little detail that I realize is important. Notice how these two selections have a reddish outline and this one has a yellow outline so that the ear most is the one with the mirror modifier that I want. And that needs to be the object selected last, right? You can shift select these different objects. But whichever one Q select last, that's the one that gets the yellow highlight. Once you get your selections. Correct. Go object, make links modifier once again. And that's going to take the modifier from the last selected object and apply to the rest of the selected objects. All right, so now we got all of those pieces mirrored in one fell swoop. Okay, So that takes care of this little detail. Geometry. 8. Lesson 7 Modeling Antennae: Now there's a couple more things that we need to add to the face. All right, looking at the concept here, looks like you've got a pair of eyes, some kind of horn antenna thing and grill for a mouth. And actually the eyes and the mouth. That's something we could probably save for the texturing. A phase of this project. Those are details we can definitely add onto the surface using Substance Painter. So let's focus on the antenna pieces. And for that thinking, we can use a very low detail cylinder. In fact, I think eight size is still too much for what we need. We probably get away with six, a six sided cylinder instead. Okay, so let's resize it way down. Something like that. Looks to me like, oops, let's change the extrude mode to this one. Extrude region, which lets me extrude straight up. It looks to me like in the concept, the antenna goes up and then it takes a 90 degree turn. Can I turn on the X-rays? I can select the vertices in the front and the back. Try and make this corner a little sharper. Something like that looks good. Now notice this n gone at the end of this piece here, there's six sides and it's usually best practice to maintain quads are triangles, especially for art assets you intend to use in video game. So all I did there was use the knife tool to draw manually draw an edge across the face there. So now we got two quads that make up this face. And you can use a hotkey to bring up the knife tool or you can press this button here. This is the knife button symbol. Shade smooth. Auto smooth. Looks like we need a bump up that auto smooth tat to get rid of that sharp edge there. And let's go ahead and plant this antenna onto the head. See, maybe needs to be a little longer. The x-ray tool is very handy like watch what happens if I select these vertices without the x-ray tool and I move it around, you'll notice that there's this vertex and the back that wasn't selected. Right? Because when you select something in this view mode, it's only selecting what you can see with the camera and not what's behind with x-ray view. When you make a marquee selection, it's going to select everything from behind. You know, just like hence why it's called X-ray. So here let me switch the transform orientation to it looks like local or global work to extrude this into the head. And pretty happy with that. You just some small adjustments. Really just nitpicking here. I want to be as faithful to the concept art as possible. So that's looking pretty good. Let's apply Transform. Apply mirror. And it looks to me like we have a finished model of the robot. And it's pretty close to the concept. And I initially thought I might model the face details here, but since it's flat and like, you know, looks, looks like on the concept is it's just flat along the surface. We can definitely manually painting those details and Substance Painter. So we'll just, we'll just save that work for, for later. 9. Lesson 8 Cleaning Up Geometry: So if you haven't saved already, go ahead and take a moment to save what you have so far. Very important. You don't want to lose all that work in case your computer freezes or you have a blackout or something like that. So backup your work. And right now we're going to prep our model for Substance Painter. Just a couple of housekeeping things we need to go through before we bring it to Substance Painter and apply textures. So first thing, I'm going to switch to wireframe mode and look for any cleanup that we can do in terms of topology, sorry, terms of topology or any kind of messy geometry. So I'm already noticing now like with a lot of these cylinder shapes, the ends are made up of n guns, which are basically any faces with a more than four sides. And will probably be okay. But again, it's just good practice to maintain quads and triangles for game assets. So let's select, oops, the easiest way I've found to actually write. So let's use the knife tool. Actually. So there's multiple ways to skin a cat. But in this case, I'm just going to delete the face, select all the edges except for two opposite ones, and apply bridge edge loops. And then we end up with these nice quads to cover up the end of the cylinders. So let's just go through each of the cylinder pieces and apply the same actions until there are no more left. I think this might be the last one. In fact, we can get rid of these faces that are inside the arm. Let's select the outer edges. Like so. There's that. And then we end up with this opera triangle at the end. You can use fill to close those up. And since most of these objects are mirrored, everything we did to one side is already applied to the other. And now gotten rid of all the end guns. 10. Lesson 9 Marking Seams Pt: The next thing to do is UV unwrap our character. Now, substance painter has a very useful feature that automatically unwraps your UVs for you. And in fact, it'll go so far as to take care of all the UV seams as well. What I found is that instead of letting Substance Painter do all of the UV unwrapping by itself. It really goes a long way if you kind of meet it halfway and just set the seams. And once you set the seams in all the right places, all the best spots, then whatever auto UV unwrap that substance painter does is going to be way cleaner than if you just let it do everything by itself. So that's where we're going to do. Right now. We're gonna go through and kind of mark wherever makes sense to lay down UV seam. So I think that's a good spot right there where we probably have a break in material. This material, this object is going to be a different material from this surface. And let's see, I think we need seams along here. Now. If you haven't gathered already, the light-blue lines mark the edges that are marked sharp. And the sort of reddish orange lines mark the edges that you've marked as a seem. Oftentimes, the same edges that you've marked sharp are also the edges that you want to mark edges and it can be kinda distracting. So I'm gonna go ahead. Under viewport overlay. Tab down here. I can check off sharp and then it's going to hide the sharp edges so that when I select these edges now I can better see what I'm doing. I'm going to mark seam there. Mark seam here. Now you might be wondering, how can I know which edges to mark seam and which ones not to. This I have to say is just going to come about with a little bit of practice. Once you've UV unwrapped a handful of assets, you'll begin to get a sense of where are the best places to put them. To allow for kind of distortion free unwraps. Generally, I look for places that are hard to see, like the armpit here, That's a good spot for a UV seam. I also choose edges where I know there's going to be a break in the material type of breaking the surface. That is. So I think that's gonna do it for the shoulder. We just did that. Now let's at a seam there along again right where the armpit is, where it's kinda hard to see and hear. Right. Because the outside, front and back of the arm is going to be seen more often than the inside of the arm. So that's another good place to put a theme. Here. I'm going to put another scene where I know this surface is going to have a different material from this surface. I want to have a seam here because even though, even though these faces are all going to be the same material, because, because of this 90 degree change, it's going to be much easier to flatten out if I leave seam there. And for things like loops and rings. One, you want there to be a point where we're that ring can, can split and flatten out. So that'll be a good spot for that. Hopefully you get the idea. Okay, So just finish marking seams for the lens. 11. Lesson 10 Marking Seams Pt: I believe the torso and the head is all we got left. All right. That takes care of the torso. Now, moving on to the head. We miss this. These are extraneous faces. All right, last piece. I believe that's everything. Now. You do want to check that you have enough edges for good unwrapped. And a good way to check is to go into edit mode, turned on x-ray, select all the faces. Hit the UV Editing tab up top. And in the UV context menu, hit on RAB and just see what that gives you. And in our case, it's not looking so good. Not sure why we got these huge UV Islands and these smaller ones. Usually blenders. Uv unwrap is pretty good about making everything even. And of similar sizes. I'm curious with this is oh, look. We have extra faces. We don't need looks like a bunch of them. Now we just missed mostly to do with these sort of weird shapes. So let's get rid of that and do another unwrap. So that's exactly why we, even though the intention is to let Substance Painter do the final unwrapping, is still gotta check it in Blender. When I saw those weird shapes, I knew there was something wrong with few of the seams, but I just found another one. So this one should have a seam along the sides here, right? Otherwise you end up with a very distorted. So doughnut island there. All right. Again, so I'm just zooming in and looking through for any odd shapes. And the shapes that look like bad, badly distorted unwraps. But I think everything looks good now. Okay. 12. Lesson 11 Organizing Geometry: Good on the topology, we're good on clean geometry, no end guns, no extraneous faces. And we got enough UV seams for a distortion free, clean unwrap. The only thing left is to organize our, our objects in this hierarchy window. So think of this character as a moving, potentially animated character down the line. And as a robot, there's parts of it that are going to stick together and parts of it that are going to kind of move independently from one another. So right away I know that all of these little do dads on the head, That's that's going to stay where they are. Exactly the same. So I wanted to combine those objects right here. We just have like this long list of cylinders and spheres, and spheres. But now we're going to take a moment to group them, join them together into larger objects. And then we're gonna go through and, and kinda rename these so we know what's what. Now before I join these together, notice what happens. The mirror effect goes away. Need to go through each of these objects and apply the mirror. Okay, so and you can tell which ones. I mean, it's almost all of them. But if you just look at this hierarchy window, the objects which have these blue wrench symbols next to the name. Those, that symbol represents a modifier. So let's just click through and start applying these one by one. All right, so now let's go ahead and start joining these objects. Now, if you just select all of them, I had a little arrow or a sorry, a error pop-up here because I had a few objects selected, but none of them were, had this yellow highlight. That tells Blender which object to join the other objects too. So just be aware that a little quirk that Blender has. So let's see. Here I know that these will stay together. And then these will stay together. That's fine. These will stick together. Okay, so we've combined objects wherever. Oh, actually, let's combine these. We have combined objects where it makes sense to combine them. And now let's go through and rename this. Let's call this retro robot things. Let me copy the first part of that name. Says what they'll all start with. Richer robot, feet, claws, arms, head, torso, shoulders. Now, the way we've organized these objects, for now, this will service well for Substance Painter, right? This, this, this is a good setup for Substance Painter. Once we bring those textures back over to Blender and apply them, we're going to have to do a little reorganization afterwards too, to make it make sense for reading and animation, which is outside the scope of, of this project. But even so, everything we build, we want to keep in mind best-practices. 13. Lesson 12 Convert to High Poly Pt: So low poly mesh is ready for texturing and there's nothing to stop us from diving straight into Substance Painter, just just with this. But if you're willing to spend a little extra time, it would go a really long way to create a high poly version of this that we'll bake down to the low poly version. So that's we're gonna do. Right now. We want to leave this guy as it is. So we're going to select everything and make a copy. Actually. In the Outline window here we can just duplicate collection. So let's hide the original, rename, this new collection. Rename the old one. So we know which one's which. And we can go through all these different pieces in, add a subdivision surface modifier. Like to bump this up to two. So it's a one-to-one representation of what's going to be exported. And the trick with converting low poly mesh into high poly mesh is let me turn off visibility of this modifier for a second by clicking the real-time toggle button. The trick is to lay down edge loops at the right places and see. So let's start at the bottom here. And we're going to use the loop cut tool to create additional edge loops. Close to the edge here and watch what kind of effect that has. Right? The, the tighter the edge loops are bunched together, the sharper the corners become when you apply the subdivision surface modifier. And typically, you want to have these edge loops on either side of the corner that you want to sharpen. So I'm going to select the faces on the sides here and do a inset action. Inset faces like so. Kind of equal distance from this edge as the earlier edges we put down. And now you can see the effect that it has on the subdivision. And let me switch the switch that offers I can oh, and I want to hide seem edges because it's kinda distracting. We want from this surface to this surface should be a completely clean break and there shouldn't be a smooth transition whatsoever, right there. Two different pieces kind of attached together. So for those cases, it's best to just separate it entirely, separate by a selection in the face context menu. And let's throw in some edge loops. Because I want this one. Oops, I want these edges to have a little sharpness. So I'm adding edge loops on either side of those edges. And let me use edge slide to bring that little closer. Maybe even closer, and another one there. And just like before, select faces, inset faces. Let's see what happens when we turn this back on. And you can see the, the edges are smooth, ER is still smooth. But by the way, we place those edges, it gives us control over how sharp or how smooth out these edges get. Okay? So let me, I wanted to push this out so that it intersects with his band. Maybe. Never mind. As if you find it. It's right up. As long as there's no gaps in between, there should be fine. So that does it for the arm. Let's take care of these claws. So again, putting edge loops close to the corners that we want to sharpen. And we want those edge loops on either side of the edges we're going for. Finally. Don't forget to add this way. Zc, all of these edges will be sharpened. Let's do the same thing on this side. And if I wanted to be super accurate, I could mirror, copy this over to the front, but this piece is simple enough where I can just repeat the steps. Eyeball it. Right, looks about the same. Let's apply subdivision surface albedo, levels viewport to two. And there you have it. This is the difference. Moving on to the shoulders. Let's add our edge loops. Now. Thankfully, our model is fairly simple, so you'll find that when you're working on more complex geometry, it's not so simple to add edge loops with the loop cut tool. In those instances, you would have to do a lot of manual work to clean up your edge loops. But with this model, you can pretty much rely mostly on the edge loop. Sorry, loop cut tool. And be made fairly quick work of turning, turning everything into high poly. So same trick as before. Edge loop. Here, inset here on the face, on the faces. And I don't think this spherical shoulder piece needs any edge loops. Think we can just straight away apply the subdivision modifier and, and that's good. So I, I noticed I go sharp, a sharp edge here, or should be smooth. Let me see if it goes away when I apply it Shade smooth but doesn't. That's probably because if you were to go to Edit mode and look under viewport, overlay, drop-down menu. And we turn sharp back on. Just as I suspected, there's all these edges are marked sharp. So we do not need these for the high poly version. So notice once we get rid of those, then we eliminate that sharp edge and it's the nice smooth sharp corner that we want. Now over here I see a problem with sub-division transitioning from the sphere to this band, where we want those to be totally separate like we see here. So let's turn off preview. Turn off the preview. Let's isolate this band piece, separate selection. And that should give us the effect that we want. Where now you see there's a clean break. So that's it for the arm. I'm going to get rid of everything on the other side here. And let's join these back together. Bring these back together. And all we can worry about renaming them a little later. I'll go ahead and apply the mirror modifier to each of these pieces. And notice when I combine these two to return them to the way these pieces were organized before. That's going to be important later. When we feed the high poly and low poly to Substance Painter. We need to present it with matching objects for to know which one's, which pieces to bake down to which. 14. Lesson 13 Convert to High Poly Pt: All right, let's work on the head and then we'll work our way down to the feet. So the head, I'm going to add Azure with their edge loop here. Select the outward facing faces, use inset faces. I also want to get rid of or clear sharp so that they don't interfere with the subdivision modifier. Let's add an edge to here and here. So that the shape maintains that the L shape. Same thing to this side. Oops. Select faces, that the ends. Instead those faces. And again, like the shoulders, the sphere shape should be fine without any additional edge loops. Let's add a subdivision surface and see how that looks. And I like it. I think it would be better if you can use scrunch that in a little bit. So it's more of a, yeah, a smoother curve there. So that's looking nice. Get to the torso. And I realize already that this color need to separate it from the rest of the torso sits attached. At the moment. We'll simply separate it by selection. And let's add the edge loops that this needs. Add edge loops to these guys. Just like before. Let's get rid of edge. Clear, sharp, slap on, subdivision. Both these pieces. Okay. Nice. Moving on to the hip. Same deal. At this top part, got to separate it. Let's add edge loops. By the way, I'm using a hotkeys to switch modes between editing edges, vertices, faces. Let's add edge loops down here. Oh, and let's not forget this guy. I'm going to eyeball it to be same as what we did on the other side. More or less. So let's apply. So division. Apply it to this one as well. Okay. Legs are pretty simple. Don't really need to add edge loops to that. Finally, we're down to the feet. Select well, so I just selected the top ring of faces and then I hit the hockey for Expand selection or select more to get the additional ring of faces, which I can then separate off the rest of the feet. I need to do the same with the Soul here. I wanted to separate from this. Just, just checking the bottom. See I have everything selected there as well. And let's add our edge loops, right? Depending on how, depending on how sharp you want your edges to be, you're going to bring this edge loop closer or farther from the edge you're trying to control. And you'll quickly get a sense of how far or how close to put down your edge loops after some practice. And then we don't really need to do much to do this. Piece can just go straight to adding the subdivision modifier. And we've finished converting the feet too high poly, high res version. We don't want this guy. Let's get rid of it. And let's combine these. Since they originally were combined. Then we can mirror it to the other side. So with just a little extra time, a little extra work. We managed to convert the entire character from low to high poly using the low poly version as a starting point. 15. Lesson 14 Prepare for Export: Now, one last step before we bring everything to Substance Painter as a very important last step. So we got a set of geometry in low poly and another set, a second set of geometry that is high poly. We need to name everything in such a way that the high poly and low poly objects correspond to one another. So just to get started, retro robot arms, we want to give that underscore low at the end of that name. And then for the high poly version, we want to give it the same name except change the very end to underscore high. So now we have a pair of objects that have the same names with the only difference being the underscore low. Underscore high. Okay. And that's how Substance Painter is going to read the FBX file. And that's how it's going to pair up these objects to do the baking operation. Let's go through the low poly objects and add underscore low to each of them. And then over here, first meeting to make sure see if we collapse them. You notice these numbers. They indicate how many objects are in the collection. And you can see that in the low poly collection there's eight objects. High poly question that is 10. So we need to combine a few things here. Earlier. We separated and recombines objects. For the high poly conversion. We now need to organize the high poly objects to be the same as it was for the low poly objects. So we'll just go through the list and in visually check. So clauses good. Go ahead and add underscore. Feet. Feet is good. And. It's the same. So here it is. We have one object for the entire hip and the low poly collection. But after we split this top ban from the rest of the hip and the high poly version, we forgot to combine them. So undo that now and join the two. And now we have one head. Legs are the same, shoulders are the same. And here's where we need to combine them again. You have one torso, the low poly, we have two in the high poly because we split them earlier. So let's select it to combine them. Now we have one again. We'll add underscore high. And notice now that this is the same number of objects for both, which is what we want. And we have all of the objects named are the two different versions to the low, low poly and high poly named exactly the same, you know, organized and grouped exactly the same. The only difference is the end the names. Oh, and then just as a last check, let's select all of the high poly matches and see if there are any sharp edges we want to get rid of. But actually, the sharp edges that are still there, that doesn't really matter. Yeah, wouldn't make a difference if we clear sharp or not. Now that we have both versions, the high poly and low poly versions of our retro robot. Let's go ahead and export it. For Substance Painter. Now we need to export both sets of models separately as their own FBX. So I have the high poly collection switched off. I want to select all of the low poly GO. And then under File Export, Let's choose FBX. And we're going to call it ritual robot low or something along those lines. And we can check on selected objects just to be sure that we're only exporting the low poly version. So that's been exported. We're going to switch off low poly collection. Turn on the high poly collection, select everything in there. Same thing, File export, FBX, and I'll call this ritual robot high. Now we have two FBX files that we can bring into Substance Painter for baking.