Space Marine Helmet - 3D Game Art with Blender 2.8 and Substance Painter | Daniel Kim | Skillshare

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Space Marine Helmet - 3D Game Art with Blender 2.8 and Substance Painter

teacher avatar Daniel Kim, 3D Artist and Designer

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

Watch this class and thousands more

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

Lessons in This Class

19 Lessons (4h 32m)
    • 1. Introduction

      1:45
    • 2. Rough Model - Basic Shape

      5:38
    • 3. Rough Model - Adding Ridges

      14:57
    • 4. Rough Model - Adding Indents

      11:05
    • 5. Rough Model - Shaping Proportions

      21:58
    • 6. Detail Model - Separate Geo

      23:09
    • 7. Detail Model - Add Bevel

      13:29
    • 8. Detail Model - Create Divot

      21:38
    • 9. Detail Model - Ear Section

      17:41
    • 10. Detail Model - Lower Helmet

      9:17
    • 11. Detail Model - Mask Section

      18:39
    • 12. Detail Model - Smooth Visor

      13:25
    • 13. Detail Model - Vent Details

      8:59
    • 14. Texturing - Block In Materials

      8:04
    • 15. Texturing - Hard Surface Details

      20:57
    • 16. Texturing - Dirt, Wear, and Tear

      15:43
    • 17. Texturing - Stamp Decals

      7:16
    • 18. Texturing - Finishing Touches

      24:16
    • 19. Final Render

      14:29
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About This Class

First person shooters and the space marine characters that inhabit those games have been all the the rage since the beginning of the genre and continue to remain popular to this day. That's why having the ability to generate cool, sci-fi hard surface assets is an important skill to have in order to thrive in the game industry.

Taking ample inspiration from a popular first person shooter protagonist, let's take on the fun task of creating a battle helmet asset that will fit onto a space marine character. I'll take you through all the steps across modeling, texturing, and rendering the asset so that it can look its best for your game or online portfolio.

Once you learn the techniques involved in creating this awesome helmet, you'll be fully equipped to expand on it and generate other pieces of armor or hard surface video game assets as you please.

So don't wait. Hop right into this course and upgrade your 3D game art skills right away! 

Meet Your Teacher

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Daniel Kim

3D Artist and Designer

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Transcripts

1. Introduction: If you're interested in three game art, then chances are you've enjoyed playing some three D games that may have featured a space Marine. In this course, you'll be taking through the process of creating a SciFi battle helmet from scratch. So now is your chance to give your own take on the common video game. Archetype Way will be splitting our time between Blender 2.8 and substance Stainer as we model and texture this asset. Then we'll end the course by creating a final rendered image to show off your hard work. Oh, this'll course is intended for all levels and includes helpful. Resource is in the form of pdf's that you can print out for quick reference. Sign up for this course now and take a big leap forward in your three d our journey today. 2. Rough Model - Basic Shape: welcome to the course. Here we are, inside of Blender 2.8. We're gonna get started right away with a ah primitive mesh. Ah, In our case, we're starting with the basic cylinder, and I'm just going to bring down the number of Vergis ease so that Ah, we can start with the low Polly piece of geo and then go from there. So the reason I chose the cylinder is because the helmet that we're gonna work on is around basically cylindrical shape. So makes sense to choose the primitive that most closely resembles, um, what we're trying to create. Now I want to note that Ah, the hockey's and shortcuts that I'm using are set to the industry standard key map. So instead of calling out specific keyboard shortcuts, all simply refer to what I'm doing. Ah, as the action names or the button names. And then, depending on your preference, you can go by the industry standard, keep key map like I'm doing because I I've used my a for a long time before. Ah, using blender. Or you might just go ahead and use the default blender key map. So back to the model at hand, you can see how, with just a few simple extrusion, I was able to take that basic cylinder into something that is now starting to resemble Ah, the sheep of a helmet so you can see the ah face mask piece that's sticking on the front there and a little opening for the glass visor. And now I am using the bridge edge loop action to start sealing up the top, just ah, adjusting the settings here for the bridge with the edge loop. I tried to set the number of faces to produce in this ah bridge to match the amount of faces that we have to work with from the original cylinder, so that when I bridge the side edges again here, you can see how they line up pretty nicely. Now it's down to, uh, playing off some manual extrude to seal up these corners. Note how, ah, I'm talking on and off the snap button, which you can see highlighted on the top center of the screen. It's T icon that looks like a magnet, and I have that set specifically to Vergis ease. In addition to that, I also have the auto merge Vergis ease button toggled on, and that's going to be on your upper right corner of the screen next to the options pull down tab. And the combination of having to snap in the outer emerge foresees on will enable you to very quickly and easily, you know, do just that snap vergis ease that are close to one another, which is really handy when you're trying to, uh, seal up geometry and make it airtight. Now I want to save myself the trouble of redoing everything I did to seal up the top of the helmet there. So I simply used the mirror modifier under the modifier properties and that will conclude our first lecture of this course. See you in the next one. 3. Rough Model - Adding Ridges: so far, our helmet is pretty flat and plain looking. So in this lecture, we're gonna be in to introduce ah, more detail in the geometry, starting with some ridges along the side of the helmet starting off by using the's loop cut tool to introduce, uh, more edges. Then I'll extrude the ridge I mentioned earlier. The idea is that the very front of this ridge is going to become some sort of ah event opening Now, in order to create some more interesting shapes, um, beginning to mold the geometry in such a way as to start eliminating straight edges. Um, like that super Square opening for the visor Turn that into a bit of, ah, upside down trapezoid. And I lifted part of the side ridge so that the event, uh, slants down. And while a low polly, uh, cylinder is a great place to start, you're going to use the loo cut tool very often to introduce ah, mawr edges. That will then allow you to, uh, create more or interesting, more detailed shapes, I guess. Ah, another way to look at it is how to take something and make it more aerodynamic. If you look at planes and cars. Generally, anything that's designed to move quickly through space, they're never They never come in the shape of a simple box or a rectangle, right? They always have these very sweeping, flowy, interesting shapes. - So while we aren't working off of any concept art or reference images Ah, you may have noticed from the ah course Art that the helmet that we're creating is heavily inspired by a particular iconic video game character. So I've taken the the basic theme and the basic idea of that video game character design. And along the way, I'm, uh, improvising the geometry as I go with only a general idea of how is going to end up looking . So, Luke Luke Tool is great for like I mentioned introducing edge loops with which to create additional detail in geometry. Ah, there will come a point where you can no longer easily get the shape you want with just dilute tool alone. So now I have switch to using the knife tool to create this very specific ah, instead of edges so that I can extrude another set of ridges over on top of the 1st 1 we created and This will cover the ear area in the back of the head using the knife tool once again. Really? Any time that you can't conveniently use the Luke cut tool. Ah, the knife tool is a very powerful substitute, and generally speaking, you don't want and guns for your video game assets. So I went ahead and use the knife tool to create additional edge on that end gun near the front There. I'm not completely focused on optimizing the John tree at this point, but I will take care of the low hanging fruit as I see them. So again, there that was a pretty easy and gone fix and gone, meaning any faces with more than four edges. You generally want to maintain, um, your asset geometry with quads wherever possible, and then you'll use triangles sparingly to resolve more difficult parts of the geometry. So using the combination of the loop cut tool and the knife tool is going to give you Thea the Vertex count and and the edges, you need to add all of these Ah, interesting shapes, - seeing a another opportunity for a ridge up on top, kind of like, uh, small Mohawk and then the front of that will be yet another fence opening. So I've got some extraneous faces there that I don't need, which you want to delete before sealing it up. And I'm emerging Vergis ease along the back there so that there's a smooth transition from the back of a helmet to the top of that top bridge. - Once you've introduced enough geometry, what you'll begin to do is start pushing around Vergis ease, just nudging them one by one until you get the shape that you want. I believe the term for it is simply Vertex. Pushing can be a little tedious, but it's going to be doing. It's gonna be something we'll be doing. Ah, throughout the modeling phase. No, the alternative is to do a proportional editing, which you can toggle on, and you can see it is highlighted. Uh, it was highlighted on the top center of the screen. The icon looks like a bull's eye. Um, with that turned on, you can grab one or a handful of urgencies, move that around and have that movement influence the surrounding vergis ease, and you can control the sphere of influence, Um, to intensify or, um mediate that effect. So it's kind of like a a quicker version of Vertex pushing. If you have, like a general area of the model that you want to to nudge or modify than the proportional editing toggle is, Ah can be very handy. But it doesn't eliminate the need to push Vergis. He's one by one like you see here because I'm trying to create a a ridge around the top so that the top is kind of flat, and then it goes down to the side of the helmet kind of at an angle, and for that I need, um, complete control of the Vergis ease. 4. Rough Model - Adding Indents: gonna continue, uh, working on our rough block out geometry. Gonna go ahead and give our visor opening some depth. - Right now, I'm using the inset tool to create a new face within the face. Of course, I wanted to connect to the other side, and I also want the bottom of that vent opening to be flush with the the top of the helmet surface. It's just the matter of adding the additional edges and Vergis ease needed with the ah knife tool and the one safe got everything set up. Now I can go ahead and make that extrusion into the event. - I want to begin doing the same thing to these side events again. Before I performed the extrusion, I want to set up the faces so that the extrusion will be more or less what I wanted. Sometimes the snap toggle on can interfere, so I have that turned off. For now, there's a lot of vent openings on this helmet. It's ah, kind of the running visual theme of this asset because we're using the mirror modifier creates, ah, a whole set of faces along the center there that they don't need. So do be mindful of that when you're using the mirror modifier. - Well , remember what I said about trying to designed the shape of your objects so that they appear aerodynamic. So I just noticed that the entire bottom surface of our helmet is completely flat. So I lifted that up so that now it's sitting at more of an angle. See, you'll notice I making ah, bunch of tiny little nudges. And while it may seem inconsequential now, it looks like I'm I'm just using. I'm moving these emergencies like a pixel er to at a time. It begins to add up over time, and I like to do that the most at this stage, while we're still in the rough, low geometry stage, because this is where it's easiest to mold and shape the geometry, kind of like it's clay. Once the geometry gets, Teoh gets denser in terms of you hadn't have any vergis ease and edges. There are gets a lot harder to to go through, and Vertex push everything one at a time. So again, I'm looking everywhere where I can eliminate straight line straight edges and really ah, break out of that initial cylinder, primitive 5. Rough Model - Shaping Proportions: Now we are at the last step of the rough modeling stage just before we really start bumping up Thea resolution of this mesh. So now that I have the basic shapes blocked in, I can begin to play around with the proportions of the helmet. And so I'm just selecting a small area of the helmet that I want to manipulate. And then when I have the proportional editing button toppled on, which is the ah, target looking icon on the upper center of the screen, I have that on I can move. Not only the vergis sees that I have selected, but the Vergis ease surrounding that selection. And that way I can go in and very quickly, you know, either pushed or stretch. Um, the overall shape of this helmet forgot to add the then opening here on the lower ridge, the helmet. Some gonna follow the same process as the other than openings here by using the inset tool and extrude often pause from modeling in. Just examine the geometry like I'm doing now, too. Decide which part to work on next. I hope it also helps you to check that you're going in the right direction. - So when you can see through the geometry like this, I have the X ray toggled on and on the screen. That's indicated by a icon in the upper right corner. When you're in Vertex mode. I use that when they need to be able to select Vergis ease, you know, in in front of and behind my selection. And it's also very handy to checking hard to see areas like the inside of those vents. You can check if their cricket or straight inside and then going and fix those. - You know the X ray icon is looks like, uh, two squares, one dotted, overlapping each other. And like most of the tools that we've been using so far, I urge you to memorized the Hakkies, whether that be the default blender key map or the industry standard key map. - A lot of the small fixes that I'm working on right now. The little nudges here and there they seem insignificant. But like I mentioned before, all these little actions add up into you ending up with the sheep that looks much better than when you started out. And I'm mainly being guided by my artistic eye. My instincts, my gut feelings. Wherever I see parts of the helmet where it doesn't look right to me, maybe this part feels a bit small. That part feels a bit too big. This this parts to Why that parts too tall? I'm keeping an eye out for any of these, uh, flaws and then trying to fix them one at a time. And you just keep doing this until you're pleased by how the model looks from every angle. - It's very important to continually examine your model from every which angle possible, not just from the side, not just from the front. You know, check it it from weird angles, like from a bird's eye view from the ground. Um, when you do that, you'll find parts of your geometry that appear very odd, uh, only at certain angles, and it's very important that we take care of all those issues now, while the geometry is relatively rough and low, Polly, because it will be much more difficult to make any kind of sleeping changes to the shape once we enter the next stage and introduce a lot more ah, detail and geometric density later on. Right now, it's still easy to do a lot of for text pushing because these vortices are spread so far apart from each other that moving just a handful of them ah already very quickly changes the overall shape in terms of, um, creating aerodynamic shapes. I would think of your object not only in terms of the wind coming at it from the front in being directed around towards the back of the object, but also I would also picture how, um, maybe liquid from rain might drip down the objects. So notice I I've made it so that the ridges along the side, they all that the top of those ridges all slant down. So it's it's aerodynamic front to back in top to bottom. That's how you create thes flowy shapes that just, you know, flow smoothly from from one part of the home. It to another again, taking a pause here to examine the helmet. It's good to take a state, take a step back from the model occasionally just to check that it's going in the right direction, and I'm going ahead and sealing up the visor opening here. That was a nice catch right there. That part of the visor looked correct, generally from the front. Then you might have noticed from that lower angle, looking up his cricket this Ah, extra edge loop across the middle of the visor. Here, it's gonna help break up that straight flat surface by allowing me to create a slight curve . See how it's super straight now. But with the help of those additional Vergis ease and pushing it out slightly, giving the visor that a slight dome like curve that's gonna be much more pleasing to the eye, especially when you're looking at the helmet from a side angle. And here we're eliminating yet another perfectly straight edge by giving at, ah, facemask portion ever, ever so slight bulge, more subtle bulges for that bottom fen opening. So look at what we have here on the back corner of our model. The faces look different than the rest because the normals are facing the wrong direction, and a quick fix for that is to simply go into the mesh tab under normals and has execute the flip function. Now you can set your view port to turn on the back face culling, and that's what's gonna make thes inverted normals visible to you. So that's a good thing to, uh, set up in your view port settings. Otherwise, it's very easy to miss. Generally, ah tends to happen when you, um, perform mirroring or when you copy paste parts of, ah, the model, which I think I did, are in a earlier step, and that concludes this section. 6. Detail Model - Separate Geo: we are done modeling the rough geometry of the helmet, and we're finally entering the refinement stage where we're going to take this blocky, faceted mesh and start really bumping up the resolution any and adding a lot more fine detail before moving on to text a ring. Now. Ah, up until now, this helmets been one a single piece of geometry. But I will start to break it up into different pieces where I know there's going to be, um, sort of ah, material separation. Like Take this visor Section nine. I know that's gonna be a completely different material from the rest of the helmet and when you have separate pieces of geometry, but they're still next to each other, good way to keep them airtight is to grab the edges and have it overlap the John tree next to it by just a little. That way, you won't have any gaps where you can look into the helmet. - I mentioned wanting to create a flat top for this helmet, but I'm feeling like it's, uh, not pronounced enough, so I'm taking a moment here to address that and shape it into something closer to what I had in mind, and I'm doing this now because this will be much harder to do. Uh, once I start introducing a lot more geometry, this is kind of the last chance to make changes like this and going forward, Uh, this is gonna be basically the shape that we're going to be working with in the final version. So now we got that flat top that I was going for. That was kind of there, but, you know, a little too subdued for my taste. So now you can clearly see that that sudden angle change from the top of the helmet to the side. - So I just applied the smooth shade function and that will uniformly, uh, smooth the shading of the geometry. Now you want to go to the object Data Properties tab and under normals, turn on the auto smooth check box and play around with the angle setting by. Default starts at 30 but you might want to bump it up to 60 or higher. See, I'm playing around with it right now, seeing how it affects the model. And what this feature does is you obviously don't want the entire model to be smooth. All around, there's gonna be parts of it where you want to maintain. Ah, hard edges. So the auto smooth check box, Um, look at the angle of each face and the Ingle setting that you said that that the uses that to decide which edges are smooth and which are sharp, bringing up the helmet into different pieces. And this time it's not necessarily because I'm going to be using different materials for these pieces. Having smaller chunks of the geometry will make it easier to UV unwrap. But even more importantly, it will make it easier to, ah, introduce more more geometry without affecting the rest of the helmet. You'll see very quickly why this is, ah, why it's advantageous to separate your meshes where it makes sense wherever which whichever part of the helmet appears to have seems where it makes sense for, you know, in terms of manufacturing, for the helmet to come apart. That's where I'll separate the mesh and then we That way we can go through each piece one by one in the ah uprising process, and it's always a good idea to keep your seen. Keep your file organized, especially when you have different pieces of geometry. You know, you want to know what's what in the outline er window that's on the upper right corner of the screen. And for the rest of this lecture, we're going to focus on the helmet cap. - Generally , what I'll be doing is introducing edge loops to iron out any facet ing in the john tree. You saw how, with just a couple of additional edge loops, you can completely smooth out a surface, and the loop cut tool is a quick and easy way toe. Add those edge loops. This step is greatly aided by the previous steps we took in maintaining a clean topology and maintaining a clean edge flow with, uh, flowing quads so that now when we use the loop cut tool, you know it can it can create those edges without, uh, too many interruptions. Now we've encountered an edge case there where the absolute tool won't go all the way through the model because it ran into a triangle. But having as few triangles as possible reduces these instances in front of this event opening here. I wanted the opening to be, uh, flush. So easy way to do that was just toe zero out the scale in the Y axis, and then, ah, Greek read, angle it and a diagonal like it was before. Um, and we're running into a little bit of trouble here because I had the auto merge. Vergis ease toggled on. Um, when we start to get into finer detail here, where the virtue Cesaire very close to one another, this tool starts to interfere with the modeling. So while I have the auto emerge courtesies turned on for the majority of the rough modeling stage, um, it be better to have it off for the model the the refinement stage of the modeling process . I'm using the same technique for creating flush surfaces, just zero out the faces and one axis and then rotated again to set it at that dynamic angle that it was before You want to avoid leaving, um, unclean geometry around for too long. So I'm taking a minute to, uh, fix the and guns and, you know, edges and vergis ease kind of looking of, if bit rough in this area before proceeding. Also setting the clip start in the view port options tab to something lower. So that uh, when I bring the camera up close, as you tend to do at this stage, it's not gonna clip through just, ah, quality of life thing. So right there, um, you have to manually set the where the sharp edges will be. Sometimes the auto smooth. Um, you know, no matter what angle you said it too. It's not always going to, um, treat the surface the way you want it. It's gonna smooth some surfaces that you want and then, you know, not maintain that sharp edge in other places where you do want the sharp edge. So you have to select the edges that you want to maintain sharp and basically tell blender where that is. Once you do, um, those designated sharp edges will be visually marked by the blue outline, seeing opportunities toe, uh, at more detail in the geometry while also maintaining clean topology. It's gonna be something that will come with practice using the knife tool eyes going to be how you do it most of the time, like the night tour gives you the most control. Um, as far as directing the edge flow, - you see how vertex pushing during the rough modeling stage is really paying off now because even though there is still a little bit of Vertex pushing going on now because we did so much of the the fixes to the geometry early on, um, the Vertex pushing the amount of her text pushing that we're doing now is is a lot less. And this is your would have been hard to add with the loop cut tool because of that triangle in the middle There already , you're beginning to see a much more refined, detailed surface here, in contrast to the very rough, blocky, faceted model that we had at the start. 7. Detail Model - Add Bevel: we are continuing with the top of the helmet at this stage, we're going to start beveling. Ah, a lot of the hard edges using the bevel tool, depending on how wide or thin you set that bevel that's going to determine how sharp for how smooth your edges will appear in the shading. So I've set the bevel to this thickness to get that slightly smooth but still sharp edge - again in the interest of maintaining a clean topology whenever you introduce a new edge loop, whether that's with the blue cut tool or the knife tool, um, make sure that that edge loop ends in a way where you've still got clean geometry. So you see a use the loo cut tool and where it stopped at the triangle. I finished it off with the knife tool. Now I'm using the sculpt tool to smooth out the side of the the surface here, and it's not doing the best job. So I'll uses technique rarely, Um, but if you want to quickly, even now, a relatively large surface, um, you could use the, uh, smooth sculpt tool to do that instead of pushing all of these in the individual of urgency is one by one. Now, unfortunately, this did kind of have the effect that I was going for. But, um, it's also indented the sides quite a bit, so I will have to spend some time fixing that. So there was a little bit gained and a little bit lost during that process. - So a little bit tedious, I know. But this is just the nature of political modeling. - The more dynamic the shapes in your geometry are, Ah, the more angles that you have to check it at. It's only when I set the camera to look down the side that I see the ah foresees kind of caving in. - Slowly but surely I'm fixing it by slightly pushing out all these vergis ease. - So now it's more or less fixed. You just do the best you can, and at some point you'll have to decide that it's good enough and, uh, move on with the asset because I guarantee the flaws that are obvious to you, um, will likely go unnoticed by everyone else. This corner here is kind of interesting because there's multiple ways that I could resolve the faces I'm trying to figure out which triangle I want to eliminate in where which faces to maintain quads. But even with triangles versus quads, there be situations where the best solution, the quote unquote best solution, is ambiguous at best. So you just have toe pick one way to resolve the topology and then move on. 8. Detail Model - Create Divot: And in the previous lecture, I said that we're done with the top part of the helmet here. Actually, I saw an opportunity to add a cool little detail along the front bottom of this helmet. Here. I wanted to create a little little high tech SciFi David here. Really? No special reason I can think of other than I think it's gonna look cool. Ah, sort of the same justification as why I added all those vent openings. It's just, ah, simple one of those ah, easy, hard surface knickknack details that you can just throw in for more visual interest is looking at this this piece of the helmet here, aside from that event sticking out on top, there's a lot of just plain flat surface. So my instincts told me that this spot right here would be good, Tad. Ah, an additional small detail because we got a lot of large, sweeping shapes and a complete lack of ah, small scale small geo details. And when you have so many chunky faces that are evenly distributed, um, you first need to create the opportunity for small details like this by, uh, introducing more challenge. Very concentrated to the area where you want at that detail. So I start off with the Luke cut tool. And then and then I went in with the knife cut tool. Now I'm using the extrude action all the while, you know, take taking just a few moments to optimize the geo by merging verses. Oh, wherever I can, wherever it makes sense. And then you just Philip Thea the whole with the bridge tool and close up. Seal up the geometry if you haven't figured out already, The Luke cut tool in the knife tool are your best friends, especially when it comes to political heart surface modelling. They are sort of the door kickers as faras modelling tools go. So I think now you can kind of see what I'm going for here. Just a little David along the corner. - So I felt like the the Bevel here was two faceted. So I take care of that with an additional with additional edges and now looks totally smooth. Now, when a bevel the edges of this David began to give it a more natural look trying to get away from the perfect computer graphic sharp edges. Now these are the kind of details that you can bake into the geometry, from a high resolution model to to the Low Polly, in which case you wouldn't need to at the Devils here played. I prefer to shoot for a medium resolution mesh and skip that high to low Polly baking step entirely, and that's really more of a personal preference. I mean, it used to be that, um, you know, hardware limitations were so severe that that you had to nor nor to maintain the low Polly geometry and all your assets you had to bake down from high poly below. Um, but I think, you know, with ah PC and consoles being where they are now, like no games can handle a lot of geometry these days. And in fact, most modern games released recently will future assets, you know, even even just background assets, the future high density geometry. So, in general, um, you know, unless, of course, you're making games targeted for mobile platforms. Um, games are now pushing to, uh, put details into the geometry rather than in the texture work. So there's a lot of there's a bit of work involved when you introduce more geometry you know, with things like beveling, you have to be on top of resolving how they flow into the rest of the mesh, right? Once you once you add a bevel in one spot, then you have to look around to the the adjacent geometry and make sure, uh, old edges flow smoothly and optimally. And again for that having the auto merge, Versi foresees. Ah, toggle option turned on. We're going to see it, which you can see on the top right corner of the screen. Thea, the button that is highlighted next to the options tab that in combination with the, uh, snap toggled on as well with ease snap settings set to ah, snap courtesies, you have those two things up turned on. You can very quickly and easily merge bird issues simply by moving them close to one another. Made a bit of a mess here tryingto clean up the apology in this area. But you just restore the mess, uh, one piece at a time. - Sometimes I'll grab a vertex in kind of moving back and forth, grabbing edge, maybe move back and forth, and that's ah gives me a quick visual check on whether or not, the Vergis Cesaire probably emerged. And right here when I move that that edge around it revealed that those edges were not connected to one another. So let's get Teoh check. You know, you've been merging a bunch of overseas one at a time. You can easily miss one where an edger or overtakes what wasn't properly emerged. So be sure. Toe check every now and then. Then once you're done with a big operation like that, I like toe pull out, you zoom out of the model and they kind of have a quick look in ah shaded view without the wire frame. Even though in the previous lecture and you go through all the vergis ease along the side of this part of the helmet and kind of undid that caving in that happened with the sculptural still noticed. Ah, just now that they still look a little bit caved in. Sub never hurts, Teoh. You know, when you spot and error, you see a little flaw that you're not happy with. You know, just take a moment toe iron and out. I decided here You know the bottom edge of this. This piece here does look pretty smooth, but I figured, you know, with with this being sort of the ah, front facing, um, face area of the of the character, it's possible that, you know, during the game, you know, if this was a production setting like, it's very possible that there be a cut scene featuring a an extreme close up of the helmet . Ah, in which case you want everything to look smooth with zero fasting. So you might pack in extra geometry to certain areas where you know, potentially, um, people can can look at very closely, you know, following that seem train of thought I want to add Ah, another thin bevel along the front edge is here to again get away from the perfect computer graphic Look. And then after you introduce that bevel, it's just a matter of going back in and making sure resolve the edge flow, the topology. All of that is, uh, most likely gonna get messed up every time you add edge loops every time you add devils. Um, it's just one of those things that you have to go in and fix manually bumping up the auto smooth year because it's a lot of edges that are maintaining the edges where I don't want it just turned on back phase, calling another another one of those things you want to check every now and then See you fart. There aren't any erroneous faces that are facing the wrong direction. - Little bit of massaging goes a long way. So the way the this John tree looks in the shaded view, it's looking a little off. And that's just a matter of making sure their flattened, smooth, clean topology and you got the sharpened edges in the right place that'll do it. 9. Detail Model - Ear Section: Okay, we're back. And we will be moving on from the top part of the helmet here to the ear part. Go ahead and hide the top so we can focus on the year section. And we're just gonna go through the same process, returned these blocky, chunky faces at a bunch of devils. Ah, bunch of extra loop edge loops and generally make it look nice and smooth. - Just strained straightening out, uh, the cricket bits. Like I mentioned before the you know, the denser the geometry gets, the harder it is to make sort of large changes across the entire mission. So while it's still in its low polly form, I want to make any last, ah, major changes to its overall shape before I go in and add those, uh, extra geometry overall, um, the vergis ease on on this piece. What kind of cricket? Sona Take a few moments to straighten them out. I turned the top part again for a moment. Just, uh, check how the year section connects our lines up to it. I just, ah, extruded the top there, and I extremely it far enough so that it intersects with the geometry of the top piece, and that's Ah, very common and easy way toe to seal up any gaps that there may have been in between the two pieces. He simply make the geometry where they meet have that those edges slightly overlapped one another. - Now I'm taking the first step towards eliminating the fascinating of this year peace playing around with the smooth modifier to see what just to see what it looks like. The only problem, uh, in this case is that it's smoothing the entire surface, including the events here. And I'm adding edge loops to try and keep the vent opening sharp. But I'm realizing that, uh, it's not worth the trouble. It's not not worth the trouble of wrestling with, Ah, the the subdivision modifier. So I go back to the tried and true um, edge beveling. Had it not been for the event in the front, um, I might have apply the subdivision and, you know, use Thea The additional geometry that gave me but doesn't work in it doesn't work very well . In all cases, you would use thesis division modifier if you were trying to create a high Polly ah model to bait down from, and in that case you would spend the time adding the appropriate edge loops to sharpen the edges where you want it, and the smooth surfaces everywhere else. But like I mentioned in previous lecture, I'm trying to go straight to the final mess geometry instead of, um, using the baking down technique. - So you usually with a beveling. It's, ah, sort of a 12 combo procedure. You apply the bevel on the selected edges, and then immediately afterwards, you spend a couple moments of fixing the resultant, uh, errors or ah, sort of sub optimal topology. - I was gonna concentrate that bevel along just a front here, but I figured the topology or the edge flow would be much nicer if I just applied it along the entire, uh, top edge here, - straining out the opening of this vent here, trying to make thesis, er, fis going into the vent, opening a little more flush so that it conforms better with the the overall flow of of the shape of the larger shape in how clean your topology and edge flow is. That translates directly to, uh, how your message is gonna look in the shaded view right. See, try and get it to look as correctly as possible in the in the flat shaded view, uh, acknowledging that you can't always get it perfect. And where there are imperfections in the way that certain part of the surface is shaded, I you can often rely on your texture work to hide most of that. Now I decided the that extra edge loop that goes along the entire top of this. This part here it just wasn't adding anything to, you know, along the size in the back. So I decided to cut off that edge early. - So I got a cluster of overseas here. The end of the bevel I just created Just want to go in and resolve this. - Sometimes it's the simple fix. Other times, like right now it's a little more involved. But you just take one step at a time to correct those errors or any mess that comes out of unresolved devils, right? You can see resolving. Resolving the corner of the devils consist mostly of using triangles strategically, right? You try maintain quads for most of the mesh, and then for special places where you need it, you use the triangle. Now here's an example of a very simple fix following the introduction of a bevel. All right, just how I had to do is merge to overseas. Ah, was just a little practice. You'll know how to handle. Um, all the situations, Uh, you know, the problems that you have to fix from introducing more geometry, you know, bumping up low poly di, their medium rez polygon. And this is also the point at which the auto merge. Mercy starts toe, get in the way. So turn it off for a second here, and that'll be a rap for this lecture with you on the next one. 10. Detail Model - Lower Helmet: in the previous lecture we wrapped up on the ear section of the helmet. Um, now we're gonna move on towards the bottom of the helmet. But just before we get started with that, I want to go over. Um, the 1st 2 pieces that we worked on in terms of bumping up the resolution and just making sure that I'm happy with the way they're joined together before moving on says you can see when I first down the bottom row overseas, uh, far enough where it intersects with the year peace of the helmet. Never disease disappeared. So that's when you know that they fully intersected with one another. And that's what you want to ensure that, uh, in production, you can't look into the helmet in these cracks. You have to be sure to seal them up by overlapping the geometry. So now that that's been handled, I just turned on the visibility for the lower part of the helmet. Hide the the top two parts, and now we'll focus our attention on really just ah, taking this piece through the same process of, you know, straightening out the edges where they need to be, and then introducing additional geometry to eliminate the fascinating when you ah bevel the vertical edges. So how I was, uh, sort of sliding in and out tryingto make the thea distribution of edges as even as possible . Now it didn't turn out perfect, but just get it generally even while you're performing the bevel action. And then as we come into massaged overseas, um, better so that there more evenly distributed, you know, it's slightly less work. So knowing that there's, ah, these adjacent pieces that are attached to this lower part of the helmet, um, do you want to see them? As I add these devils to make sure that everything is working in context, all three of these pieces are following the same shape language. Um, the vent openings air kind of the common through line. And so it's fairly easy to see, like I'm just really going through the same actions, putting devils in the same spots, focusing on the vent openings because those are really the focal point of this helmet being that that's where most of the detail is, and also it's facing forward. You noticed that I I'm adjusting the camera every time I select a new Vertex here. And that's because I'm using the free transform without being restricted to anyone access. And when you're manipulating, ah are transforming overseas. That way, you want to make sure that you know you're a line in the direction that you want to move those ver disease because when you just free transform, um, the way it moves is is oriented toe to the camera view. You can see here now the the two edges kind of rounding out, uh, this lower piece here are fairly evenly distributed, and I'm mostly done with, um modeling these three pieces. So I went ahead in apply the mirror modifiers. I like to save that towards the end when I know I'm pretty much done. So now I want to take a moment to make sure that where this lower piece meets the Middle Years section is again gonna be air tight without gaps. Keep in mind once you've applied the mirror modifier, whatever changes to you, you make to one side. Now you have to remember to also applied to the other, which is fine. If you're only doing a couple of sort of fine tuning detail work like Yes, you could imagine this would be a bit tedious if we're doing this from the beginning. But I'm only fixing. Ah, you know, little things. 11. Detail Model - Mask Section: our helmet geometry is really coming along. Now, uh, this lecture will be focusing on the face mask section of the model. So let me find that ah, piece of geometry and turn on the visibility adding my first bevel along the top here. And by the way, when you try and adjust the devil settings, it may go crazy on you. So, um, may have to hold down the shift key nor to make those adjustments more incremental. Ah, at least that is for the industry standard key map. Now I'm adding the bevel along B, uh, bottom corners. Yeah. Once you apply the, um, the bevel action, you can adjust the settings of the the lower left window here if you expand the, uh, bevel window by clicking the arrow next to it. But keep in mind, that window is only available immediately after you use the bevel action. If you go on, click on something else or do something else that that window disappears. And so far, all of the levels that were adding haven't introduced to many ah, geometry errors or bad topology. So, you know, sometimes it's ah, nice and breezy. You don't have to fix too many things. I just spotted a in gone, some using the knife tool to create the clean topology again. - So there's Ah, there was huge gap between the lower piece and the the mask covering piece of pieces of the helmet. So then it's just a matter of nudging those adjacent, uh, pieces of geometry to close up those gaps. And the best way to do that is to over lap the edges of the different John Tree just slightly. Right now I'm using ah, the proportional leading editing mode toggled on as you can see in the centre top of the screen, that bull's eye looking icon. I find that it interferes with, uh, the Vertex pushing that I like to do so much, so I'll have it turn off for most of my model infection sessions. So you know, when it comes to heart surface modelling, uh, with ah, a bunch of different pieces that have to come together, you will have to spend a bit of time, um, massaging the you know where those different pieces meet. It's ah bit of a design problem, really trying, trying toe resolve, the way these pieces come together in a way that looks nice, looks functional and looks natural. This is another thing that will come through practice sometimes, you know, resolving uh, he's issues is it's a simple as, ah, having piece of geometry overlap one another. And other times it's a little more involved in that. My guy. I still haven't finished resolving how the the sort of corner pieces of this, uh, face section meets the year section of the helmet and, you know, like I'm doing now. If you can't figure it out right away, um, you can leave it as is and focus on other parts of the model to come back to it later. And here's an example of where you saw how I used the bevel action and then decided that, uh, I want to use the knife to. Instead, the bevel tool will work for a lot of cases. Uh, every now and then you see an opportunity where the knife tool would be easier because there's enough geometry on the inner part of the event opening here on, and I just wanted on extra edge loop on the outer rim of this facemask opening this edges jutting out a little too far. Someone a nudge it backwards. Turn off the auto, merge Versi button on the upper rate corner so it doesn't interfere with what I'm doing right now. - So I spent a quite a bit of time in ah, wire frame mode. I let him back in the shaded mode. I can see that the smoothing along the surface is is coming out incorrect on the bottom part of this face mask your And when I saw that, I knew that I needed to Ah, just the edges on the very bottom here to straighten that out. Clean geometry. That's why it's so important. It's It's what allows your mesh tohave. Ah, a clean look in this shaded view. See how it's nice and smooth where you want it to be, And it's Scott is showing just enough of, ah edge definition along the places where you added a bevel. So I just on another opportunity there are another edge would really round out the the fascinating. I want this ah, top section to align with the rest of the the slant that this face mask is in just going in and adjusting. You know, one versi at a time, or like a small handful of overseas at a time. That's how you get these dynamic, um, curvy hard surface shapes. So said, I've I would return to the corners here and finish closing up the gaps. I'm just simply, uh, extruding from the edges of both parts and then intersecting them or overlapping them through one another. And that's going to create this seem in between the two. That makes sense from a visual standpoint from a, uh, practical sort of manufacturing standpoint. - And now it's finally sealed up nice and tight, right? And when were those two pieces meet? They're both beveled in to create, uh, that nice, uh, seeing detail in the geometry. Want to eliminate the fascinating here And keep in mind the thinner your bevel czar, the sharper that edge is going to look. So with a bit of practice, you'll develop a sense for how ah, wider, thin. You need to set, um, a bevel to achieve the desired, uh, sharpness of your edges. It's a little bit of ah, smoothing issue here. My first go to is to just the auto smooth setting. See if that doesn't resolve the issue. If not, um, call and go in. Ah, and try and fix the Verdecia because it may be an issue of them not having been properly emerged, and now it's fixed. 12. Detail Model - Smooth Visor: all right. The previous lecture we wrapped up bumping up the resolution on the ah face covering portion of the helmet. And so now, stepping back toe double check that all the pieces are where they meet. Uh, if it's nicely. And I felt like the top part of this Ah, your piece wasn't mashed with the top piece as well as I'd like this. A little bit of massaging, um required to fix the issue here on the corner. Ah, if you want to develop better hard surfacing skills, I would urge you to, you know, take a a closer look at, you know, electron ICS and cars and just, you know, hard surface objects around you in real life. Look at them more closely in trying reverse engineer in your head how they're put together . Just ah, start to pay attention to those details and later down the line, it could help you come up with ideas on how to resolve. Um, the seams were different pieces of your hard surface asset meat, right. You're going for two things in cases like this, where a you wanted to not only look nice, but you also want it to look like it makes sense. If ah different pieces of your heart surface object were just randomly overlapping and intersecting each other, it looked as if you just smash them together in your three d package. But that is not what we want. We wanna put a little bit more thought and how these things are put together and one of those sort of design issues may have been resolved. Ah, in the concept art phase, if you're working off of, uh, a concept, it may be that you don't have to think through those things because somebody's already taken the time to do it for you. But if you run into a situation you know in a production situation where either the concept art is vague and not very detailed, or you have to come up with your own design, um, without any concept or reference to, ah, look at while you're modeling, you know that's when that's when you need to do this problem solving on your own and, ah, most of the time you know you can resolve it by over, overlapping a little bit of one piece with the next, the one next to it. But Sometimes you know, it's not gonna look right. And you need to manipulate the pieces of little little more so that they fit together better. No, it's like a very advanced version of Tetris where you're not only trying to fit pieces together. Ah, but you're creating those pieces at the same time in this particular place in order to maintain consistency. I'm kind of dealing with the way that this Ah, your section meets the top. I'm treating it. The same is as I did with how it meets the corner of the face mask, which is to create a bevel where they meet now. As you remember, I went ahead and applied them your modifier. So the changes I'm making to one side of that your piece wasn't updating to the other side . And I've made enough changes to it where it be very tedious to replicate those steps to the other side. So I went ahead and deleted the faces for both that and the lower section of the helmet. Then I will mirror them over to the other side once again. So now we're moving on to the final piece of our helmet, which is the visor. Now, as far as making sure that there's no gaps between the visor and the rest of the helmet, it's as simple as re sizing the visor so that it in your sex with the edges of the rest of the helmet, where were the opening meets the Visor And just like before, I'm going to select the vertical edges and introduce more geo just by beveling them in a manner where the faces are fairly even in there with then make the ah necessary micro adjustments to the individual Vergis ease straightened everything out, make the edge flow nice and smooth. I'm going in beveling the horizontal edge so that now instead of these long verticals, uh, strips of faces, we have thes evenly sized rectangular faces. And now we have, ah, smooth visor. So looking at it closely, you could see that there's still gaps between the visor and where it meets the rest of the element. So I'm trying to close it off, uh, trying to see if I can close close it off just simply by scaling it up and up in, uh, vertically. But at the same time, I don't want to make the surface of the visor flush with the surface of the helmet. I wanted to be kind of inset dessert extent. Now, with the proportional editing turned on, I'm going to try and pull the corners of the visor. I mean, the proportional editing is, like, just ah, perfect usage scenario right here. You want to maintain the same general shape, just ah, it's just massage those corners into the right place. X ray toggle is also great for checking that we have, ah, adequate amount of overlap to ensure that there's no gaps. And then another way to check is to look inside. And you can notice how all those edges are. Different pieces are sticking out. If you see those edges sticking out, you know that there's a good overlap. I noticed. Ah, that maybe there wasn't an overlap happening along this corner here. So I make that adjustment. And now we're good to go. Yep. There it is. 13. Detail Model - Vent Details: we're now entering the final stage of the modeling fate. The modelling process so far. Helmet asset here I went ahead and sealed up the bottom as conceived, and I just wanted to model out the thins that we're going inside the vent openings very simply start out with a cube. Primitive. And now it's just a matter of inserting. There was, ah, the vent fins or the vent grill. Now, of course, you know a small detail like this you can save it for, ah, text oring. But in this case, I just wanted to model it out. Think, uh, most I mean, a lot of modern games of there graphical fidelity has come to a point where now we're seeing, uh, prop assets with individual nuts and bolts modelled out one of things that used to be reserved for, um, you know, bakes normal maps or, you know, really a lot of these details that used to be preserved for her texture work. They're all being modelled out now. Games are becoming very detailed. And so now these small little details like the one ones I'm adding Now, um, they're they're in there, so I'm using the array modify here, too. Copy instances. It's a very obvious use case. Here you have a repeating object that you wanted, uh, distributed evenly in a row. That's what the array modifier is for. - Now we have a lot of other vent openings besides the one of the top. Well, I'm gonna go and copy and paste e grill for our other event openings. Check. Ah, all different angles. Make sure it's aligned correctly. - I'm going to repeat the process for the lower events here. It's nice how he created this grill for the top vent, and I didn't have to repeat the process. Instead, I just ah, copy and paste whenever you're trying to replicate similar shapes, even if it's for different parts of the ah, the model cause all I have to do here is rotated scale. It make it fit these different vent openings. It's no need to make things from scratch every time when you see an opportunity to reuse ah, part of the model for a different part of the model, you know, Take it now. It's just a matter of buring these guys over to the other side, but first I need to set the activity in the middle there. But before I do, I remember to check the normals by turning on the ah back face culling option. Well, what I did at the with the top grow there. I I'm eared, uh, that initial row of, uh, the the event fins by, uh, stealing it in reverse. In other words, setting it to negative one and the x axis. I like to use that technique a lot, but then I have to remember down the line that I need to correct the inverted normals. And now I'm saving out in O b j. Remember to turn off the, uh, save you ve info check box here, and it's important to save it out as an O. P. J. Because that format is the only one that offers the option of turning off whether or not to include the UV information. And that's gonna be important for when we bring this geometry into substance painter, where now they have a brand new feature that will auto UV unwrap Ah, your geometry for you. And we're going to take advantage of that future to save ourselves the trouble of manually UV unwrapping 14. Texturing - Block In Materials: All right, let's open up substance painter and bring in our helmet geometry. Set it up in the new project window Select D O B J that we exported earlier. Now it's gonna take a minute to auto UV unwrap for us. They really, really like. And the very first thing I like to do is bake all of our mesh maps is gonna gather all the , um, information that substance painter needs for its Ah, procedural, procedural materials. Now, we're gonna take a quick look at how the UV unwrap looks and as you can see, You know, obviously it's not going to be as efficient as as though, uh, you unwrapped it manually. You know, if I did it by hand, inside blender could probably pack it in a lot tighter, uh, make more efficient, um, use of the UV space. But you have to, you know, way the benefits of basically having instant UV s ready for painting versus having you know , the most efficient use of a few V space. I think you know, if this feature continues to improve, you probably use this for, like, a majority of your assets, especially little props and background assets that aren't gonna come under very close scrutiny. You might still save the manual UV unwrapping for hero assets. Um, but I'm shifting towards using the auto unwrap feature and substance painter for most of my three D artwork. So now a. So you can see the smart materials are reacting to the contours of our helmet. It's it's correctly detecting the edges and realistically applying the wear and terror that he's smart, so smart materials are so great for. And, uh, I did search. I did put in the search bar metal, so I had, ah, rough idea of what kind of material I want the the helmet to be overall. And then I start picking out Ah, a handful of different materials from this, uh, selection here. And this is kind of the early experimental phase of the texture painting process, where you trying out a couple of different materials and, um, picking out which one you like best and seems like I've flashed on to this particular steel smart material. Some I'm going for more of ah Matt armor type of material with a little bit of, uh, metal showing through underneath where there are scratches and, um damage. And I didn't want to dirt to be so brown side Turn down the saturation on that one. Make it more gray. - Each and every one of these smart materials comes with a bunch of materials packed into that material, right, packed into to a folder, basically so gone through and make some quick adjustments for our base metal material. And now I'm gonna begin to differentiate, uh, smaller areas of the helmet with a different material trying out this but this darker, uh, Matt surface on the, uh, the face area of the helmet. And you might try something and decide that you don't like it just like I did now. Yeah. You know, this part's really fun or you're just exploring and trying things out, seeing what looks good, seeing what doesn't. I decided to go back to the face mask later and just cover the divisor. X already know what kind of material I want the visor to be kind of Ah, a shiny glass material with a green tint is kind of what I'm going for. All right, now that we've blocked in the rough materials and covered the entire surface off the helmet , that would be a good time to save. And we will continue in the next lecture 15. Texturing - Hard Surface Details: All right, We're back inside of substance. Painter? No. The materials I've chosen for helmet and the visor. I want to introduce Ah, some other materials for different parts, Like the face mask just to differentiate different pieces of the helmet. But for now, I'm gonna dive straight into adding hard surface, normal details. So I've already ah, created a empty folder and in a later inside of that where I can put thes normal details separately says you see ah, in the shelf window on the lower left of the screen here, I selected the hard surfaces tab, and, uh, I picked out a normal normal map detail that I like. And now it's simply a matter of loading up the brush with this map. So you gotta let up in the, uh, the normals, and I'm gonna turn off all the other channels, leave the normal channel on, So I just stand my first hard surface detail there in the front of the helmet. No, if you're a first time substance painter user Ah, what I did to set up this brush so that the ah hard surface detail, um, gets loaded up on the brush and mate seem like a lot of extra steps, and I certainly felt that way, too. Um, but you'll quickly get the hang of sort of the CEO Ah, sing Chrissy's of this program, and that's simply how the brush tool is organized. It's got those different channels the Al Vedo hype, metal nous, um, smoothness and and the normal channel. You just look at the all the items in the hard surface tab and notice there purple that that is, ah, characteristic of of normal map. So if you can remember that when you remember to load it up, um, into Thea normal Channel and skew salt is you saw right there. Like I I sometimes I forget exactly where to put it. But you have to drag and drop it into the correct slot on the lower right of the screen here. But anyway, um, try this until you get the hang of how the the brush works and how applying hard surface details works, and then you can go to town with adding as many details as you want. And, you know, while you'll read your rarely find the normal map detail. Ah, inside this tab here, that's perfect for your asset. You just keep an eye out for whatever approximates what you're looking for and then try to work that into your your asset. So right now I'm trying to create some vent openings in this ah, facemask part of the helmet, and I had to go through and try a couple of different I'm hard surface APs. No, it's not the right size. It's not the right with. So I tried a few different things on the solution that I arrived at here is just to use one, one big event opening and resize the brushes I go down from from the top to bottom of this facemask opening. I want you to think about the alternative. Um, if I did insist on, you know, having the perfect, uh, role map, stencil no and go and make it myself. You know, that's an extra of 5 10 15 minutes that I spend when I could just use what is available here in substance painter and try and try and make it work. It's not perfect, but it's close enough to what I had in mind, and it's extremely convenient to be able to just pull out of Ah, list of available, uh, hard service details. You know, every now and then, um, i'll be playing, ah, video game and notice one of these, uh, stamps on a on ah, proper and asset in a game which goes to show just how popular substance painter is in the industry and also how you know, professional artists will will take advantage of of the conveniences that is afforded by just having a bunch of, like, a library of of, uh, items to choose from. No, I'm not working off of concept art. I I just had ah, general idea of the fact that I wanted, ah, vent openings in the face mask. But looking at the side of the helmet here and just looking at the pretty wide of flat surface of a helmet with no detail is just smooth all around. You know, when I look at its surface like this, I know that I have to throw in some kind of detail. Doesn't really matter exactly what but Thea artist in me is telling me that I've got to put something Teoh to break up the surface. Guess what I'm trying to say is that this step of the process where you're adding random little knickknacks. Um, you're really relying on your artistic eye, your taste and just kind of following your gut as to which of these, um, hard surface maps to use and where to put it. You can see how I'm trying a bunch of things, stamping it down, realizing I don't like it and and control seeing toe undo, - I said, I should also point out I do have the mirror mo toggled on. That's the button on the upper center of the screen. It looks like, uh, triangle split in half. If you toggle that on, obviously you know, you can just add a ton of details on one side and all be copied over exactly the same on the other, assuming that you have a symmetrical model to work with. So I'm trying to find opportunities to add some larger details here. I had ah, a couple of small stamps. I'm trying to see where I could fit larger stamps, a lot of stamping and controls being It's okay to be a little bit fussy at this stage because choosing a hard surface stencil and stamping it down, erasing it, trying another sensible. This doesn't cost very much in terms of time and effort. I thought I encourage you. Teoh work. Um, loosely. Just try things. I'm looking at the side of the face mask your and thinking this surface on the side could use some kind of detail and slowly, you know, I didn't add a ton of normal details yet, but already you can begin to see a helmet that that's looking ah, lot more interesting than before. It's looking, you know, less flat and smooth. You take a lot of work to try and model this into the jam tree. So I'll often model something that's geometrically sparse knowing that I can add a ton of detail, uh, within substance painter. So I'm taking a break from stamping down large details. I'm going back to adding in those smaller micro details, something I should point out regarding the use of the brush tool. Um, thank you. You can You can, ah manipulate its size and capacity and rotation using a combination of holding down the S key. And, you know, switching between clicking down left mouse button, the right mouse button, the middle mouse button. Um, I think the old key is involved somewhere in there. But I would encourage you to, um, take a moment to familiarize yourself with how the ah hockey's for the paint tool works. That way, when you're adding in these little details, you can manipulate ah and adjust the brush things on the fly. The alternative is to adjust the sliders on the the upper left corner of the screen. You see the slider, the sliders labeled size, flow, capacity and so on. You can. You can change the birth settings that way, but it's a little slower. No, if if this were a riel game asset, maybe even ah, hero asset of, ah main character or an MPC Ah, that's very visible, maybe feature in the cut scene. I know that the front of this helmet is going to be looked at more often than the back, so loading up a lot of details towards the front, and I also don't want to neglect the back here, some making sure to remember, flip it over and add more details in the back. But most of the stamps that I'm laying down on the back of the helmet are of larger details again. I want to somehow break up this large, even surface along the back, inside of the helmet. I'll keep in mind. Ah, you want to be on the judicious side of distributing these details? Because if you were to pack every square inch of your assets with various stamps, it'll just start to look really busy and cluttered, Uh, and not very pleasant to look at. So the way I'm laying down these stamps there fairly evenly distributed. 16. Texturing - Dirt, Wear, and Tear: so we just finished adding hard surface details in the previous lecture. Now what we want to do is select that layer that we worked on. Add a filter and assign the mat effects detail Edgware to that filter. And what you notice here is it'll add this, um, metal Edgware effects to all the normal map details that we just added. And that's necessary because before this little operation, all those details we added it didn't really pop. Um, it was kind of hard to see from far away. And this filter brings back all the details that we just added. Now, by default, the effects is, ah, bit overdone. So I'm going into the properties and adjusting the sliders so that to make to make the effect more subtle and this effect works really well because we're using it on top of a ah , a metal type of surface. So take a moment to, ah, just the sliders until it looks something like what you see here, where the outer edges are are given this sort of warn metal, look to it, and then the inner Davidson cracks are kind of filled with dirt, or at least ah appears darkened and yourself for a moment there when I switched off the effect, um, the difference that it makes with and without. So as you can see, there's a ton of options, dozens of sliders. And to be honest, I don't know exactly what each and every one of them does, but they are labeled in a manner that gives you an idea of what these letters might do. So you read that and just kind of slide it up and down and see what happens. Always a good idea to rename your layers before they start to get out of hand, and I can't figure out which is which. - I'm trying to set up my brush for adding details to the visor. Looking at this visor right now, it just feels to plane because it's completely flat. And even so, I'm gonna work with the brush with, um, the height set to something different. - There's a ton of settings in the in the brush properties, so it's good to try and set it up, knowing what you're going for on this case, I thought it be nice to add some kind of ah outline along the border of where the advisor meets the rest of the helmet. So I quickly laid down. You know, this border idea? Um I'm I was going to go with this, but, you know, laying it down and then adjusting the layer settings help me preview how I wanted to look. And so now I'm going in with the lines that I'm I'm going to stick with and I'm tryingto create straight lines. We were also I'm holding down shift to create those straight lines as you imagine to be pretty tricky to try and freehand draw, He's, you know, perfect curves. So once I have that down, I can then adjust the height on the layer itself until we get something that's not too exaggerated but you know, subtle yet still very visible. I just ah added the filter effects, just like before trying to see what we get from that. I realize it's not really making much of a difference, So I get rid of that again. It doesn't cost anything to try things, so be free and loose. But it not just trying things and seeing how it looks. And just because I went ahead and proceeded with adding details after laying down the basic materials doesn't mean I need to stick with those initial material choices. So right now I'm trying to see if I can't use something shiny er for the visor. But ultimately, I stay with the first choice the initial material that I use. I mean, some minor adjustments to the helmet material. Ah, and and then moved on to these next steps. But now that I have the details in, it's a good time to go back in and really refine the settings. Overall, I'm looking for Ah, dark grey metal type of material for the helmet. But I wanted it to have the slightest tint of green in it the same time. And ah, in my eyes, the metal Edgware was coming through a little bit too shiny. So I went in, change the metal color underneath the the paint. So no, the rough material that I laid out real quick, Um, the beginning of this this phase I've now refined her home, owned it to something that's much closer to what I had in mind, which is this mostly Matt metal surface. - I felt that the procedure procedural dirt that, uh, comes with the metal material wasn't enough. So here I am, manually adding in more dirt on a separate layer where it makes most sense for dirt to accumulate. And to achieve that, I'm now using the brush to a little differently than the way I was using it before. I've now ah, loaded up the Alfa slot inside the Properties window, and I'm basically just painting on some color. So this type of manual painting is something I'll do when you know I've taken the sort of procedural slider settings to as close to what I want is possible. And you'll hit a point where the sliders and the settings are no longer going to give you the results that you want. So there will be times when it'll just be faster and easier to go in there and do it by hand. And it's not a big deal when you're doing sort of general, uh, overall detail like this. Like it's really hard to get, uh, hard to paint dirt wrong because it's so subtle to begin with, 17. Texturing - Stamp Decals: all right, We're done with the adding of hard surface details. In this lecture, we're going to focus on introducing Alfa decals to our asset. So you want to start off by creating a new folder and adding a fresh layer inside that folder going in label, able to folder in the layer. And now let's set up our brush tool pick and choose which channels you want. You're decals to effect. And ah already loaded up the Alphas tab quite a bit of, um, quite a selection here to choose from. Just scroll through and find whatever looks interesting or that might fit your asset. And then once you find that Alfa, it's a matter of loading up your, um, brush Alfa, like I did know by dragging and dropping it into the appropriate slot under the properties window. Generally, ah, I'll turn off all the channels besides color rough and metal trying to think of Ah, what kind of material property paint has And I'd imagine for for a layer of paint on top of a metal surface, you'd have sort of ah, a dull matt surface for where that that paints going to be. So that's generally how I've set up my brush and then this step is actually fairly similar to what we did with the heart surface. Details. Um, you know, because substance painter comes with a pre made library of assets to choose from, it's very easy to just grab some stuff in. Try things out. I'll typically save this towards the very end, as you can usually find a lot of opportunities to place these decals once you have your hard surface details down. So when I usually lay down details, I'm not looking to, uh, cover the entire asset I'm going in here with. He's really small stamps. Better, a little bit hard to see, but all you're doing is introducing a little bit of flavor for the times when, um, people might be looking at the asset up close. And generally I'm trying to add decals where it might make sense from a functional standpoint, and painter does come with a pretty decent library of industrial looking alphas. It's very easy to find spots where you can fit these details attentive. Put these decals down near spots where it looks like there's button or a latch or a hinge, or some kind of ah, no removable component 18. Texturing - Finishing Touches: were in the last stage of the texture painting process. We're gonna spend a bit of time refining our texture work before moving back into a blender . So ah, one notice what one detail I failed to notice was that I didn't treat the very bottom opening of the helmet here. And typically that be fine because, um, this is, ah, part of the helmet that it's going to be rarely seen. But I thought it wouldn't hurt to just differentiate at least Thea the service in your part of the helmet bottom here with some kind of material that might make more sense, um, to be in contact with skin. So I chose some kind of, ah, leather smart material. And I was using the polygon fill tool to do this. Um, but accidentally, ah, selected the some of the faces beyond just the bottom here. - Unfortunately , when you lasso select inside of sesame painter, all the faces behind the feast is you're trying to select. They get selected to. So here I am, just ah, manually clicking each face one by one. You know, whatever. Whatever it takes to get the job done. I guess so. There we have it with not a lot of effort, you know, if by some chance somebody were to, uh, see the helmet from this angle Oh, look, like it makes a little more sense then if it was just the same metal material author out - Taking a moment to experiment with adding some kind of detail on this onto this Ah, leather Christian surface. Now, if you have an idea of what you want, you can kind of type in a generic, uh, search word. If you're lucky, Ikan, find what you're looking for. We're something close to it. In my case, I was looking for Ah, some kind of a round shape. I realized I wasn't doing much. Sarge's decided to leave it as is, which is fine because, um, you would typically have the the neck intersecting into the bottom of his helmet. So most of this year, you really not gonna be able to see you'll only be able to see the very edges where it meets the neck. The front of the helmet here is really where you need Teoh worry about the most, and as long as that looks good, uh, you're set now. I think In the first lecture of this section, I mentioned that I want the facemask portion of the helmet to be ah, slightly different material than the rest of the helmet. And then I didn't find what I wanted right away. So I left it alone. Teoh, maybe come back to it later. And now that we're basically done with the texture painting process, I'm just doing some last minute tweaks and adjustments now. So this is a good time to try out some different materials again for the facemask before exporting our final textures. So I just drank that, uh, material folder below the detail layer. I generally like to keep the detail airs at the very top so that they're not obscured by anything else. So be mindful of faces behind where you make a lasso selection using the polygon. Phil Phil Tool. Yes, I I thought that having the same green tinted metal surface for the entire helmet aside from the visor and the bottom, I thought it looked kind of boring. So I wanted to you make like, a two tone color scheme. I really like the polygon fill tool it. Ah prevents you from having to manually paint Are you manually Pain mass clears to differentiate, um, different materials for different surfaces. - I think overall less manual hand painting translates to, uh, much faster, uh, texture authoring. Turn around again. Ah, had a feeling that my, uh, political Phil Lasso selection might have messed up different parts of the helmets. I new to check the bottom here, but it's a pretty easy fix. - Yeah , and it's always a good idea to label your layers as you go are layer. Stack is starting to get larger and larger. So helps toe keep organized, especially for but a studio production environment where you may be handing off assets to other artists, uh, or even just to go back to an old asset and make small adjustments. So sometimes I'll choose a smart material. And instead of leaving it as is, um, I only want, you know, a couple of, uh, properties from that smart material. And then once I have what I need, all discard the rest. So this machinery smart material that I just added, I don't really care for the yellow paint, so I turn off the visibility of that layer. But I do want the procedural rust that comes with this smart material. And so I'm now just adjusting, uh, the sliders under the its properties to further wrangle it into Ah, what I wanted to be, namely, ah, tryingto Tony Wade way down. Says you can see it. This Ah, it's really taking on the rust very thickly. I'm trying to find the slider setting that will, uh, reduce the amount of rusting that's going on. And I think I just found that slider and something like this will go a long way in unifying your asset. See this? This machinery smartly or not only does it contain procedural rust Ah, if you look closely, it's also introduced. Um, procedural, uh, dirt accumulation, particularly along surfaces that are facing upward. I was making it look like the helmets just sat somewhere on a show for a long time. We're, ah, dust might have accumulated, you know, kind of as it, uh, drops down on the helmet over time. Now I like what all of these procedural materials are doing. I just want to make it less pronounced. So all I'm doing now is just trying to find the right sliders that will still leave the effect but reduce it to something a lot more subtle. When I imagine the fiction of this helmet not thinking about how it might have sat on a shelf and just collected dust, I'm thinking about how it might have been used, you know, actively in ah, battle in a combat situation. Before I introduced all these additional details before I was looking like the helmet was a little too clean and it was looking like it hasn't, uh, been put to use very much. - And , ah, don't feel too overwhelmed by the wealth of options and sliders inside the properties window. For for a lot of these smart materials, it's unrealistic to you try and memorize what each of them do exactly. So all I'm doing is going in and just playing with all of the sliders and slowly massaging the settings to my liking is I might read, ah, label for a slider and think that's going to do one thing, and then it might have no effect or might do something completely different than what I expected. So at that point, all you can really do is just go in there and and push the slider up and down and then watch the screen and see what kind of effect it has. Sometimes it could be a struggle to get those settings just right. Um but most of the time I find that you can get it pretty close. So I think I'm pretty happy with the results. And I'm ready. Toe put the pencils down and export what we got. Um, I like to use the unity settings even when I'm using those textures inside of, ah, blender because the unity settings make the textures packed into just three or four maps. So I feel that it's ah a lot easier to, uh, organize and manage those files. Also, don't forget to export the geometry because we do need the ah you ve map information. 19. Final Render: we have returned to blender, and we're going to start off by importing the geometry that we exported from substance painter. This is an important step because we did the, uh, UV unwrapping inside of, ah, substance painter. And we need that you the information inside of blender. So I'm just checking the UV map here to see. That's correct. One thing that, um, the version of Sosa's painter as of this recording does when you export it is triangulate your geometry. I believe the most current version now gives you the option not to triangulate. But in general, I like to work with Geo that are in quads. So I just took a moment to convert triangles into quad. Now here we are, inside the shader tab. Now you'll see what I mean. Um, by by what I said about how, uh, the texture is exported for, uh, unity work. The unity preset exports. Three maps in one of those maps packs, uh, two of the maps into one. This ah note in the middle here, I have to introduce a couple of intermediate intermediary nodes so that blender reads the map correctly. Um, what this is addressing is the fact that the way blender reads roughness, map and the way unity reads, the roughness map is inverted from each other. So I got the invert note here to correct that. And, um, it's the mask map, which is one of the three maps here that contains both the metal nous and roughness maps packed into different channels a pack into the RGB channels. The metal map lives inside the the our channel. So the the node connecting the color from the mass map toothy metallic input is simply splitting those channels and directing the our channel metal map information into the metallic input. Now, you you can confirm, um, that this is the correct Waiting to set up the shader is just by just by looking at in the view port. Um, I came up with this through trial and error, and, uh, if you decide to use different presets to export your textures from substance painter, you may not even have to do this kind of ah shader set up. This is very specific toothy preset that I chose now I switched the ah the shader mo to world and I imported random. I think phone picture that I took of, ah, sunset to use as a quick and dirty ah, uh, East er I background image. Now, it's not a true HDR, I but just having something in there does still influence the image in your render. And I figured, Ah, I want kind of orange glowy lighting for the this helmet. So that's why I chose this orange sunset background. I mean, that's mainly really for for the reflective parts of the helmet, namely the visor. Ah, you want something in place in the ah, the shader tab with with the world mode set on, um, because you want you want something to be reflected, uh, on your asset If if it has a highly reflective surface like glass. Otherwise, it's just gonna reflect the black void of you know, your your blender three D space. Now, I've added a couple of point lights here with, uh, different tense of no orange orange glow from from below and a blue sort of highlight rim light from behind. And this combination gives you're gonna give your asset a very dramatic kind of ah cinematic lighting set up. And I just introduced a key light along the top right corner there so that we can see most of the helmet. I don't want to be. I don't want it to be too Dark is really just ah, variant of the classic three point studio lighting key. Light rim light fill light. - The key here is to illuminate some parts of the helmet. Leave other parts of the helmet dark and this orange glow from below. It suggests maybe, Ah, some burning embers or a burning piece of rubble. Ah, that you might find in some, you know, space battle. So it's definitely looking pretty dramatic right now, and in the interest of, you know, rendering your assets for use inside a portfolio. Lighting is something you definitely want to pay attention to, and if you can try and tell a bit of ah, story with the way you light it, render it framed. The the shot here. It's kind of at an angle. The lighting's dynamic, the shot angles dynamic and, um, if you go the, uh, the render tap properties and the switch off the background so that it's rendered transparent. You don't want the you know sunset a c r. I image to render to show up in your render and you choose to set it to the E V render or the cycles rendering. I mean, honestly, evey looks really good And ah, you're making art for sort of, ah, video game, our portfolio more indicative of how your assets will look in real time engine. So it be totally valid, Teoh, render your your asset with TV, and then maybe you touched it up a little bit and post and just use that as your portfolio piece. But I'm doing a cycles render now to just, uh, see how different it looks. It's looking slightly better. I mean, obviously the fightings looking a little more realistic. But honestly, they're very similar. There you have it. You can take this into Photoshop or gimp, your image editing program of choice, and at some kind of background. And you're all set. Those are the different layers. Then you can save separately if you're interested in post work, and that will conclude this course. I hope you got a lot out of it is per pretty fun making this if you haven't been creating this asset as you follow along. Um, good luck with ah trying this on your own