3D Asset Creation for Studios – Complete Workflow from Brief to Unreal Engine 5

1. Introduction Trailer: My name is Emil Sligas. I am a lead Trill environment artist, and I will be your instructor for this course. This tutorial course is all about how the actual production process works when working for game and production studios, meaning that we will not just cover how to create a treaty asset, but we will also go over on how treaty assets are created in actual studios. Now, this course will cover a large number of topics, but some of the biggest topics are as followed. One, showcasing what request briefs are and how to use them. Two, showcasing Jira, which is a common site used for tracking content during production. Three, showcasing how to use sites like confluence, mirror, and notion, four, discussing the balance between quality versus speed versus quantity, five, gathering references and creating a blockout asset. Six, showcasing the entire creation process of an asset from high to low poly modeling, UV unwrapping, baking, and texturing, seven, showcasing how feedback is usually given in studios and eight, setting up assets in Unreal agent five. We will also include multiple bonus chapters on how to create various different types of assets using different techniques. The general takeaway of this course is that at the end, you will have in depth knowledge on what to expect when you start working for an actual game or production studio, not just how to create assets, but also the kind of internal tools and workflows to expect. This tutorial is almost entirely narrated in real time. However, some of the bonus chapters on how to create different assets are done using time lapses. For the actual real time T asset modeling, we will be using Tres Max. However, we have also included a time laps on how to create the exact same asset in blender. Next to this, we will be using Rhythm UV for UV unwrapping, but you can, of course, use whatever UVnwrapping tool you want. Mm set for the baking, but you can also use Substance Painter, for example, and we will be using substance painter for the texturing. With a total of 19 plus hours of video content, I feel confident that at the end of this course, you have to know how and how to create high quality assets in a production setting. Now, this course will also come with out generated subtitles in English, Chinese, and Spanish. I hope that you will enjoy this course and that it has a positive impact on your life. 2. 01 Finding Our Asset And Creating Request Briefs: Okay, welcome to the very first chapter. Now, this tutorial course is focused on teaching you the entire development workflow of creating an asset. So the course is not so much about, oh, hey, look, here is how you need to actually create an asset in Max or blender, although we will actually cover that we will just cover the complete asset creation. But it's more about, how does it actually work when you are working for larger studios or also smaller studios, and you're working on a project with multiple people. So we will go over on using the industry standard tools. We will go over on how people often find the assets that they need to create, how to go through the pipeline, and the pipeline is basically the workflows that you need to follow to get everything approved. And we will also show you a bunch of additional stuff. So for example, this is a list, we will, first of all, go over on finding an asset to create and also showing you how to create a request brief. And of course, if you don't know what something is, that's something we will cover. We will go over on Jira structures and how to use naming conventions. We will show you a bunch of bonus stuff like the website confluence and Mirror and Notion. Again, you don't have to know about what these things are right now. We will go over it. But they are often industry standard tools that are being used by many different studios. Now, once we've done all of that stuff, we will go a little bit more into, like, the basics, which is gathering reference and setting up our actual project with the correct naming conventions and the correct for the structures. And then what we'll do is we will go over which route to take in the asset, doing planning on how to figure out quality versus speed and which part will be best for which asset and for which project. Now, once that is done, we will go ahead and we will create a blockout and already set this up inside of unreal engine. Of course, many studios might use different engines, but we will just use unreal engine because it's the most readily available while also being the highest quality for the type of art that we create to basically show you the basics. Now we will of course show you how to create the actual model. And what we also do is I will be creating the actual model inside of Tres Max. But as a bonus, we will also create the model inside of Blender, so you get a little bit two for one. Now, once that is done, we will actually go over on how feedback rounds work, and we will also be doing feedback rounds. So I have a team of artists that are working for me. So basically what I will be doing is I will be the modeler, and one of my senior artists will be the feedback giver. And we will show you along with examples like how is feedback given in a studio, what kind of stuff that you can expect, how to respond to feedback, all that kind of stuff. Let's have a look. Once that is done, we will just go through the process and we will finalize our asset and we will also just set up the final asset inside of UnwilEngine. Then finally, as a bonus, we will show you how to create two more assets which use often slightly different workflows. That's the general idea of the course right now. The first thing that I want to go over in this chapter I want to go over on how to find an asset and then also how to properly prepare this asset so that it can get approved by your high up, which is often your senior or your lead. Now we will assume that we are creating a realistic game. The assets that we are going to create are actually assets that I need to create anyway. For example, within my company, right now, we are creating a city environment based on an area in Seattle. So the way that this often works is now you can go two routes. Or you can go to Concept route, which means that you will probably have some concept, and based on that, you kind of know what you need to create, and you gather additional references. Or what often happens if you need to make something based on a real live location is you would simply use Google Maps. So this is just like the normal viewer in Google Maps, if you want to gality. Oh, that's fled. So over here, it's a normal viewer in Google Maps. As you can see. And basically, this is something that very often happens in many game studios is where you simply go into Google Maps and you just look around. Now, what you can imagine is that when you are planning a project, there's, like, for example, one artist or like a few artists that will go through the entire area, and they will basically make a picture of every single thing that we need to create. So they say, like, Okay, picture, you need to create some steps. And I'm just using the screenshot program Share x, but you can also use print screen. Like, it doesn't matter what you use. The general goals, they go through the entire a scene and just find everything. Like, for example, here is a mailbox, and that's actually one of the things that we will also create as a bonus asset. I already, of course, know which assets we are going to create, but that is the general idea. You go through here, you take pictures of it, and most of the time what will happen, it's like a little step in between, which is that once you created all of these pictures, that's when you create a more detailed request brief. Now, because this is, of course, a tutorial and we are not planning a massive project, let's kind of imagine that we went through the area and we had a look about all of the assets that we need to create. Now one of the assets that we are going to create as a main asset, which is just for this example is going to be some of these larger bins that you can see over here. So what you would then do is you would create something called a request brief. A request brief is basically a brief overview of the asset and just some additional information with it, which you can then send to your senior or lead for approval. Now, of course, these request briefs look different in every studio, but just to give you a very simple overview, what we often do is we often go into PowerPoint actually for this. Here we go in Power Point. And then you just want to crap like a very basic design. So it doesn't need to be anything special. What I'm going to do is I'm just going to go ahead and I'm going to, for example, here, delete this. And let's see. I'm just going to go to my design, and I can just go in here for the background, and then I'm going to make this a different color. So let's go for something that's a little bit more grayish to make things stand out. Once you have that, the first thing that you want to do is you want to give it some additional information. One of the things that we, of course, need is we need a title. So I know this is not supposed to be like a Power pointed oil, but I just want to show you like, from start to finish. We basically go to Insight and create a textbook, and often at the most visible part, that's also large part you give this a title. Now, giving this a title, normally, you would already give it also a naming convention, but I'm not going to do that yet because I want to show you that later on. So this one is going to be a large trash container. It can be very simple still at the beginning. I guess. And also, this is going to become a template. So basically, you want to kind of make it in a way that you can very easily edit everything. I'm going to make the color to be pure white that we can see it a little bit better. And I, I don't care about things like font. Now, when I say templates, it's stuff like instead of doing this with your slider where you can only just have the text on it, which if you then add more text, this will happen. Instead, keep in mind that sometimes you might have larger text, so you might want to increase this length. Now, next this, what I'm going to, I'm just going to go ahead and I'm going to duplicate this and this one I am going to make a bit smaller, and this is going to mostly be information. That's what I should call, information. So what I can do over here is I can go ahead and I can set this a bit smaller to like ten. And then also just to make it stand out, let's go ahead and although we should be able to add a fill to the shape. Here we go. So let's just go ahead and make this like a black fill, which you can do over here in the shape fill. And that just makes it a little bit larger. Normally, you should be able to slide like this, but I guess they don't do that for some reason. You can just press Enter a few times. So what would be in here? It would be like some general information. So let's go ahead and have a look. Okay, so it's a container. I'm just going to go ahead and I'm going to move this over to mild screen so that I can look at it. And another thing that I want to do is, I probably need some additional images to this. Now, I already have a bunch of images, which I actually took myself. So what I will do is I will just go ahead and I will grab one of those images as an example. However, next to this, you can also, of course, go to, for example, Google. For example, over here. So here just in Google Images, just large trash container. And we are not currently at the stage where we are trying to find all of the reference that we need. We are at a stage where we just need to quickly define the model for approval. So here you can see that we have, for example, a few, we have some metal ones, and we have some that are more like plastic. I like to often go to tools and just set the size to be a little bit larger over here. And then I can just see like a little bit of like a close ups like, Okay, which one would be better. I feel like large metal trash container might be better. Then we get like those really classic ones, which I don't like. You can also try a large trash bin. Sometimes it just takes a while to, so we get these type of things. But yeah, I think in general, something like this will work quite well. What you can also often do is when you click on the image, you can find related images. There we go. Now we get somewhere, it's a little bit better. It's a little bit too heavy duty. But yeah, I think something like this, something like this looks a bit more like my reference. So what we can do at that point is we can just right click and we can open the image in new tab. Now at this point to save the image, I would need to go through my folder structure. So what I can already do, although we will go over naming conventions. That's, of course, the thing normally, you already know all of this information, so you can do it all at the same time. But for now, let's just ignore that. We don't have a naming convention. And let's just call this large trash container. I do like to use underscores. I don't like to use spaces in this kind of stuff. And the reason for that is because computers in the actual file type, when you have a space, it will read it a little bit more like this. It will read it less large percentage, and then sometimes they even do like 20, and that basically means like a space. However, you can imagine that this will make your file parts really long and depending on the software, you might run into problems at one point. It's rarely the case with one asset. But remember, if you're working on production, you can be creating thousands of assets. When I was working for Ubisov, we had something like 16,000 assets. So at that point, organization becomes very important. Now, in here, I'm just going to make a folder called reference. Quite easy. And that's just so that I can now drag in already this image over here. And what I will also do since I'm here, I'm also going to now just go in and just take a quick screenshot of this. Of course, this image is really bad to represent, but it's the only one I could find of a trash bin. And we happen to have. For example, here, you have a nice parking meter, and I was like, Oh, let's make that one, but one of my artists already made it. So that's basically the reason here. But anyway, so, okay, we now have a general idea of, like, what are we going to create? So we will do well we will go over here, and we will add some essential information. The reason that we need to add this information is because even though we are creating the request brief, we might not always be the person that is also creating the actual asset. So because of that, you might want to go in here and let's say large metal trash container, closed, which is something that is also quite important to show. Now, if you want, you can discuss a little bit about the workflow that we will be using in here, for example, hither low poly or weighted normals, but that's something that we will cover later. Now, another thing is just a general wear and tear, which means basically that it will just be general use. It will not be over the top rusty or over the top old or something like that. And that's basically why you want to have this extra information. Now, next to this, you can have also additional information. For example, if you wanted to have it open, you would have like trash or branding or something like that. So in here, just to fill things up, let's do generic branding, which means generic stickers and stuff like that. You don't have anything specific. Of course, when you would have something really specific, like, for example, over here, this kind of stuff, you would often or you would be creating that yourself, or you would send it to a graphic designer who will go and create it for you. We, for example, have a graphic designer in our team, which does all of our stickers and stuff like that. So next that it's just about giving you or giving whoever is creating this the essential information. Now, for example, one of the things, although we won't be using it, that we can also do is my team has a lot of generic assets like wheels and stuff like that. I could go in here and type in. Wheels can be used from template database, stuff like that. Now, I'm going to go ahead and create wheels myself because this is a tutorial, but that's something that we, for example, often have. We have a lot of bolts and those wheels and all that kind of stuff to save us a lot of time. So that's basically the general information in here. Now, next it is, you can also go ahead and you can add in some additional information like, for example, texture size, 14 96, it's 14 96 or whatever you want. You can go in here and you can add, for example, additional stuff. Like sometimes what you wanted to add is we often add something called blockout included. Yes. That basically means that when we have a Jira, we are telling the artist, whoever is watching this like, Oh, wait, there will be a blockout already in the engine for you. We will just include that even before the asset has been taken to final. So that's really project specific, but I always like to ardit because this way, whenever another artists for example, a level artist comes to this assets like, Okay, I need a trash container and then they can just be like, Oh, hey, there is already trash container. Let's go ahead and find it. So at this point, we now have our very simple naming and we have some general information. Often, that's all that you really need. If you want, you can also include a specific location for Google Maps in here. However, we often save these request briefs as images and not so much as PowerPoint documents or PDF documents. So it will be hard to actually copy this link. Now, once you've done that, what you want to do is you want to gather a few images that will show the essential information over here. So we have, for example, our two images over here. We have this one, which I will just place in the corner. Like this and this one. Now, what I like to do is I like to go in and I like to make my main image the biggest image. So you want to kind of go out in Google Images or in, of course, Google Maps, or you can go out yourself and actually gather some images yourself, which I have done, and give me a second to grab them. Here we go. So as you can see, I just went through the process of finding a bunch of images. And I will show you one more trick after this. But in general, this like the kind of asset that we will be creating. You can see a bunch of images are from actually Google. Now, these ones I made myself. You can instantly see that the resolution is much higher quality, which makes it just a lot easier for us to know what asset is about. So try to find really high quality reference. I also quite like searching this way. You can see actual dimensions and stuff like that. But in general, that will give you a really solid overview of your bin. Now, one more thing just to quickly mentioned to make it quite simple, is that in Google images, once you have found your main image, you can also make use of the Google Image search where you can go in here and you can, for example, drag in that image. And then what it will do is it will find similar images, like you can see over here. The annoying thing is that it used to be the case where it would open up the actual image and not just open up the articles. Sadly, I don't think we can still do that. Yeah, here. So often what I tend to do is I tend to, click on the links, and then you can often already find here. See you can find these images. And at this point, we are just using them for reference. You don't really need to buy something if you use it for reference. So you can just take a quick screenshot and simply add that to your reference images. Just like that to add them. So in general, we now kind of like, no, okay, so that's going to be the general images. Now, for our main image, which will be in PowerPoint, what we basically are looking for is we are looking for the general vibe of the model, the general overview. This over here that I just actually took by coincidence is actually a really good one. So the reason it's good is because you can see, like, a little bit of wear and tear on it, that's not too over the top. It has the right design. It has some interesting colors in here. So when I decide, like, Okay, this is going to be my main image, I can just make it a bit bigger. And then next to that, I can, of course, also go in and I can add, for example, a few more small images like this. You don't need too many. You just need to be able to show your lead or whoever approves this what you are going to create. Now, once something like this is done, what I will do is, first of all, save this PowerPoint template. I'm going to call this request briefs. Here we go. And then at this point, what I tend to do is I just simply take an image of it. And that will be my request brief. The reason we take an image of it is because we need to post this later on in the next chapter into something called Jira, which is a management software. So I can go in here, and then just along with my reference, I will just drag in this image. And now at this point, we have these images. Of course, all these reference images that we have over here, normally, you would not go out and already find all of these reference images until your asset has been approved. Now, because we are also the approver, of course, I know that it's going to be approved. So I already went ahead and gathered all of these images. But just something to keep in mind. Normally, you wait for approval, and then you start going through the process of creating the asset, which will involve creating your reference. So that was basically on how request briefs work and how they go through the pipeline. Now the next chapter is going to be super important because next chapter actually shows you the internal systems that studios use to track all of these assets, to approve, disapprove them, and I will actually also show you a little bit of the back end of how it works in our company structure because our company structure is almost identical to the same structures that AA studios use. Some studios might use different programs, but it's going to be something that you almost never see in tutorial. Probably never you see this in editorial. But it's actually going to be very valuable to teach you how things actually work on the back end when you work on larger projects. So let's go ahead and continue with that chapter in the next chapter. 3. 02 Jira And Naming Conventions: Okay, welcome to the second chapter where we will go over Jira and over naming conventions. So what is Jira? Jira is a very popular, and I'm talking very popular database software, I would call it, in which you can basically track and manage tasks and also deadlines, and there's just so much stuff to Jira. You can do everything from tracking task, creating tasks, tracking deadlines. I would highly recommend looking into it, but to give you more surface level, because the software is big, like it's insanely big. Give you more surface level from an art perspective within art studios, what it is used for, it's basically used for creating tasks and managing them throughout the entire pipeline. That means being able to create tasks, be able to see when they are in different stages from, for example, in progress to blockouts being done to the entire asset being done to being uploaded to the engine, all that kind of stuff. Next to that, it is also communication platform. So on those tasks, you can leave comments and other users can leave comments. So for example, your lead can leave feedback on those tasks, and next that, there's just a bunch more stuff. Now, I will actually just go through it to give you a little bit more of a bigger sense of it. The reason why you almost never see this in tutorial is because confidentiality. Often, Jira is one of the most confidential softwares you would be using because it will display pretty much your entire project. So what will happen is that I will go through this, but sometimes in past edit or in post edit, you will see me randomly blurring out or randomly, masking out certain areas. That is just something that you kind of have to get used to. When that happens, it just means that there was something that you guys are not supposed to see for projects that are not announced yet and stuff like that. But we are going to keep it very casual. Now, often, when you have Jira, it will look different for everyone, but you will have a dashboard. So you can actually create Jira. Jira is free for teams up until like ten people with, like, some limited features. But you can actually use Jira for your project if you want, if you have a small team. Now, over here, I'm going to most ignore all of this stuff. We're not going to go over on how to actually set up a Gia and all that stuff because I feel like that is not so much about an asset pipeline, but more about a production pipeline, which would be very different. But basically, as an artist, you would probably have a dashboard. What this dashboard would display is it would display a bunch of tasks in specific orders depending on the project. For example, in our projects, what we have is we display our material task, which are specifically just like textures. And next to that, we have a bunch of stuff here. Like for example, this is all of our to do task, which means all of the tasks that we have not started yet. And here is where, of course, also some tasks will happen that we are going to create new, so we will show you how to create a new task. We have some tracking stuff over here like a pie chart, which will show us how many assets for us are currently in progress and how long it will take for them to complete and to do and blockout. So it's really handy when it comes to deadlines. So, for example, I can see over here that we have this amount of task set to blockout done stage, which means that we need 11 weeks and one day to basically finish all of our blockouts and turn them into, like, final assets, for example. Then we also have over here in progress and to do and all those kind of things. Now, as I said before, this is handy for tracking. Of course, don't be scared. When you see something like 11 weeks, this means literally just 11 weeks as in workdays. However, if you have multiple artists, of course, if you have two artists, this will instantly become 5.5 weeks, for example. Way, to keep going like this, you will often have a dashboard that will show you various stuff. I will show you to do task. Here we have in progress tasks that are in progress by freelancers, for example. And here we have AStask where the blockout is done and where they are in progress and other kind of stuff. And down here, we have another pie chart that just shows like a bunch of additional information. So let's go ahead and let's actually go into a task just to kind of show you the overview. So over here, you guys all know that we released like a airport environment, a IBC. I don't know if you know, but we did that. So just to quickly show you like, for example, here we released because, yes, I make tutorials and I'm the owner of Fast tutorials, but I actually own also an entire outsourcing department and an entire studio next to this. So tutorials are actually just like a part of our business. But basically, here you can see that we created a large scale environment, and this environment used the exact same workflows as that we have used before. So when creating this environment, as you can see, we have a lot of assets. We had like 520 assets, I believe in this environment. So we needed a lot of tracking. And that's what you can see over here. So, for example, let's grab one that is let's grab an older one that's already done. Let's say, long table with seats, something like this, for example. Now, when you go on the task, you can see over here that there's like a few things already present in the task. This will be slightly different for every project that you are on. However, of course, you will get explanations in what everything means when you are on a new project for a bigger studio. But it's still super useful to even know what this is. If you are having an interview and being able to say, Oh, no, I looked into Jira, I know how to use it, or they will love that kind of stuff. So that's really something that you should mention. But anyway, in our case, what do we have here? We have, of course, our title. This title often corresponds with the title of the request brief. We have a quick description. This quick description is just like if you need to add some additional information. Now we have an ID. R ID is also called a naming convention. Naming conventions are used to basically be able to properly name all of your assets so that nothing feels out of place. When you are working on a W Large project, you will rarely have assets like Table one, Table two, hair, hair one, chair two because it doesn't describe anything and it doesn't give you any proper tracking. The way that we work here and the way that often works in any other studio is you will have something like an ID in your naming convention. In our case, R ID is MM, which stands for main model, and then it has or master model. I already forgot which one it was. And then it has an ID over here, 00145. This means that this was model 145 that we created. Now, the nice thing is because these IDs, you can link them to Jira. Wherever you are, you can always link through it. So I will actually show you give me 1 second. Over here. This is, for example, what our asset folder will look like. So we have our MMS, as you can see over here, and then we have an underscore, and then we have, for example, revolving door, bench two, fence two, fence tree. So these IDs, they are very important because they are able to basically track everything inside of Jira, along with being your explorer. Now, next to this, these IDs are also useful if you, for example, have a different project. So for example, this is MM. However, we, for example, also had a project which was a warehouse, this one over here, and then just to differentiate between these because this was a specific project that was supposed to be for someone else, but we end up making it for ourselves. Not to go into that, basically, this one was called WM, and then the ID, which basically means that we were able to just simply search by WM, and then we are able to get all of the assets that are belonging to our warehouse over here, which, of course, stands for warehouse model. So next, that what we have over here is we have our sub ID. This is something specific to us, and it basically means that we have a few statuses, which is handy for EADs to understand what is going on. For example, you have request Addit. When you just create a new task, we would set it to request Audit and that basically tells me as a lead that I have, like, a list of all of the assets that are set to request Addit. And then what I can do is I can go through them and I can approve them, or I can disapprove them, for example. Next, we have awaiting feedback. It's just like a nice extra handle in when your lead, for example, is really busy, then you can just sell it to awaiting feedback, and then your lead when he has time, he can go in and look at your task and be like, Okay, so this task is awaiting feedback. Let me look into it and give feedback. We have model approved, which just means if your lead approves the model. And these two over here, they are mostly for materials. So processed and baked material, they basically stand for our photogrammetry materials because we create a lot of photogrammetry materials. Next that we have some attachments. Attachments are very easy. They are just images, and look at this. What do we have here? A request brief. This is a really old one, so it doesn't look as good. But as you can see, it's the same general concept. We have a main image. We have a title, we have some information on it, and then here we have blockout provided, textures, and also the technique in which we already decide if it's going to be weight normals or going to be high to low poly. But that's something we will cover a little bit later. And then, of course, here we have some of just the final asset. Just some images. Although these are old and by now, it already looks a lot better. So that is already the general overview over here. Down here, as I mentioned before, you can add comments. So over here, you can go back and forth with your lead if you want with the comments. However, we actually use something called Slack for that, and Slack is also a communication platform. So we will go over on how we do our feedbacking quite a bit later in Chapter I don't know exactly which chapter because it might change around, but it will be a bit later. But here, I can, for example, add some comments. So here you can see that at December 7, 2022, a while back, I comment that bar stool seats were already created by COBIS. COBIS is one of my artists, so we only need a table. So just like that, you can communicate with people without needing to directly send it to them because if you directly keep sending messages to other artists or to your elites, they might end up forgetting something because you are working with a lot of assets. So here you just add some additional images. Now if we go to the right side, this is where stuff gets really important. And that is over here your workflow. So workflows is something that's built into Jira, so it will look fairly similar for you. And it's basically you having the ability to set the asset at different stages. For example, we have the to do stage, which means that no artist has started this yet. This is an important stage, again, to not have any overlap where artists are not accidentally working on the same asset at the same time. But it also means that artists can just go into their dashboard, which we have over here, and they can just pick, for example, over here, they can just pick an asset, and they can be like, Okay, so this is the asset, although this one is won, but they can just pick an asset and be like, Okay, so this is the asset that I want to create so they can then assign it to their name. And assigning it to their name happens here. The assignee, you can see over here, and you can see that we just are able to assign it to different artists. So I can set this to COBS which one of my internal artists, or I can just assign it to myself, which it is right now. Now, these processes, they are set by your producer or technical artist or something like that. The processes that we use, for example, are blockout done, meaning that the blockout is done and it is in the engine. The reason that we do this is because often the artist that makes the request also makes the blockout. However, the artist that makes the blockout is not always the artist that takes the entire asset to final. The reason for that is because we take assets as they come along. Sometimes the artists that created the original blockouts is busy, so another artist will come in, grab the blockout and just take the asset to final. Now, next that we have in progress. We have some stuff that is specific to us. We have done, and we have limbo. In progress just means that no one else is allowed to touch this asset because someone is working on it. Done just means that the asset is done and ready to go. Limbo is just a task that we and we're basically assets that we don't know what to do with or that are cut or we don't want to use them anymore, we just throw them into limbo. And it just means like they are kind of hovering there because you wouldn't want to remove a task because you might still need a task in the future. Now over here we have our labels. We use labels to basically be able to organize things. So we can organize it based on the project. Like this is the airport project or the warehouse project or Well Quay project. And all of these projects I can just tell you about because they are already released. Here is the WlqaPject, for example. So we can very easily just, like, add all these labels, all of these labels to here, which makes it easy for tracking. Then we have some budgets and paid. This stuff is specific to when we work with external freelancers. We can basically set a budget for our asset and we can already monitor if it is paid, yes or no. Now an important one is your time tracking. Time tracking is once again built into Jira. And yeah, I guess that's the last thing I will show you. And it's quite easy. Over here, you can say how much time you spent. So here you can see that we spent 4 hours and 15 minutes on it. However, we can see that the original estimate for this issue was only 1 hour and 30 minutes on it. So for some reason, we spent a little bit too much time on it, but that's fine. You can go in here and if you, for example, want to log time, let's say 1 hour, you can say one H and you can press Save. And then you can see that over here, it will just log your time. Can also over here find history and work logging, and here you can see how everything is being handled. So here you can see also the history. And here you can see in this history that we went with looks like I created the issue. Then assigned it to Cobus Cobus set the status from in progress to blockout Dunn. Then it sat idle for almost like a, it looks like it sat idle for two months where we just didn't do anything on it. And then Sandy, which is another artist of mine came in, started working on the process, set it to Dunn, locked his time, and then I went ahead and came in, and then everything got assigned to me, and I basically, took over everything else. So you can see that you can really keep track of everything of the entire history and all that stuff. Now we are already at 60 minutes, but I really wanted to give you a solid overview of this. So what we are going to do is we are just going to go ahead and create an actual task for this. Now, at this point, if we just go ahead and second source files, large container over here. At this point, we would also want to give this folder the correct ID. So what we're going to do is at this point, you would often, figure out, okay, what is going to be like our ID. Now, I already have an ID for this. I can even open it up. Here we go. So this one because I already know that we need to create this asset, because it would make no sense for me to create a brand new asset that we don't need. So I just picked an asset that we are going to create. You can see over here that I already have an ID. However, let's just go ahead and let's just imagine that this was the last asset. So our next asset is going to be 289, for example. We can go ahead and go up here and press Create. Now, you get a window, and this window once again is set up based on your project. In my case, the project is going to be Scans metter which is our outsourcing brand. And then the task, in this case, going to be a I'm going to keep it as a model task because as you can see, when I switch tutorial task, things change. Based upon the task, your inputs change. So we need to kind of keep it a model task for now. Set the status I will go ahead and already set it to I progress because I don't want any of my other artists to accidentally grab this asset. And then in the summary, we want to already give the name. So we know that our last asset was MM 00288. So I will go ahead and I will call this TT, and the reason I call it TT, and I will change it later on is just tutorial because I do not want to interfere with our current projects. I can then go 00289, and then I will give it, for example, the normal name, large trash container over here. Now, all I need to do is just go ahead and copy this ID and also place it in here. And normally, yeah, normally we actually do this, zero, zero, zero, but it doesn't really matter. Description, I don't really need to add any description. The substs I want to set it to request added, which is correct. Assign it to me. The labels in here, you can add labels. If you want, I'm just going to leave it because I don't need that. We don't have a budget on this because I'm the one making this. And then over here, you can give it an estimate on how much or how long it's going to take. So let's say that this asset will probably take well, I'm working on it via editorial. So let's say I will give it 1.5, and then I need to say hours or days. In my case, it's going to be day. So this means that this will just give me 1.5 work days. Keep in mind that it actually keeps in mind weekends and stuff like that. Project deadline, this is basically just like a deadline for when does it need to be done? Well, I want to have this tutorial done in one month so I can do one month, for example. Next, what we're going to do is here in the attachments. We simply want to go in and we want to drag in our request brief. Is going to be there we go. And that's pretty much it. Now you can go ahead and you can press Create, and now the asset will be created. At this point, I can go into my dashboard, and I'm not sure if it will show up here because, of course, I'm using completely different IDs and all that stuff. Yeah, here, see. So it will not show up here, but that's just because I use different IDs, but I can just go ahead and type in TT, and then I can go ahead and find it over here. So here we can see that now we have our entire request, and this is often how it will work, but then times 1,000 throughout your entire journey. Just like a real production, we will go in here and we will actually keep track of everything just like we normally do. So we now went over our naming conventions. Of course, we now need to go into our source files and also change the naming convention here. TT 00289 underscore, or I like to actually do like a center dash, just to separate it better, and then your container. So at this point, now you know the general concept of Jira and of how to use naming conventions and why that they are important. They are basically important just to be able to keep track of a large scale of assets and link everything that's outside of Jira with Jira. Now, in our next chapter, what we will do is we will just go over some bonus content like Confluence, Miro, and Notion, which is just different websites that will make your life a whole lot easier. So let's go ahead and continue with that in our next chapter. 4. 03 Showcasing Bonus Programs Like Miro Notion Confluence: Okay, so this is just going to be a quick little bonus chapter where I wanted to show you some additional useful websites, just in case you didn't know about it. So the first one I wanted to go over is called miro.com. So miro.com is completely free for you and you can work up to, I think, three people without paying for it. We do have a premium subscription, and it's a whiteboard tool. Now, I'm sure that many of you already know about PUR Rf. So PureRef is a program that is really nice like display images locally on your machine. Miro is similar. However, in Miro, because it is a website, you are able to access these white boards wherever you want, and also you can share it with your team. So for example, over here, we have the mood board for the warehouse, and it's just nice to give a general overview. Like, we can art our images over here, and they will stay at the same resolution as when we uploaded them and everything like that. And my entire team is able to access this. Now over here we have a bunch more images, as you can see, just a bunch of stuff. There's a few things that's a bit more annoying because it is online, as you can see, sometimes when I move very quickly, it needs some time to load in the images. So it can be a little bit slow, especially if you have Wi high resolution images. So that is the only thing that I find really annoying is that if we have a lot of Wi high resolution images, then just like here, trying to zoom in, see that it lags a little bit like that. That's something that I don't really like. But for the rest, it's really nice. For, like, a general overview. What we tend to do is we tend to have a PURv document that we just have on our shared drive so everyone can access it. And then we also have Miro and Miro is just nice if we are in meetings, and we just need to quickly, like showcase everything and everyone needs to kind of, look at the same stuff. So you can see this is just like Ikea, for example. So that is basically it for Miro. You just have your images. You can scale them up and down quite easily. You can see that they do a little bit of snapping, also, which is nice. Now, next to Miro, you can also do a bunch of stuff like you can go up here and you can just type in whatever text you want, maybe make it a little bit bigger, see. And you can, of course, do different fonts, like different layouts. You can give different colors, everything. There you go, stuff like that. So that's quite basic stuff. Sticky notes, quite handy if you just want to have a quick sticky note on it. That I like to do is over here, you can see these boxes. These are actually, if you go down here, they are frames, and you can just grab a didn't mean to dt. Sorry, you can just grab a custom frame. Don't know why. Hmm. There we go. Now, it works. That was weird. Anyway, you can also draw in the frame. You can give it a different background color, all that kind of stuff. This is something that's really basic. So I rather just want you to play around with it. One thing that's also pretty cool is you have these arrows, which allow you to basically, like, set the arrows, make them bigger. See? You can just have, nice arrows and you can, like, move them around and stuff like that, if you want to, like, point stuff out, which I will show you that a little bit later because I actually made a mirror board to explain some stuff to you later on. So basically in here with Miro, we will come back to this in the next chapter where we will actually use this for our reference. Now, next to that, what we also have is we have confluence. Confluence is again, one of those programs that you probably won't be using as an individual, but your company will be using it. The reason your company will be using it is because it's made by the same guys as Jira. Confluence, you can see as a documentation database. It can hold many types of documentation, and especially when you work for larger companies, it will hold a massive amount of documentation. Over here, this is our documentation, for example, and we just have very basic stuff. But, for example, if we go into workflows, you can see over here we have a workflow for naming conventions and stuff like that. And here you can exactly see what I've been explaining to you. And it is just quite nice because this way, if we, for example, have a new artist starting, we can just be like, Hey, read the documentation. If you need to know how to use Jira, just click on Jira and we have videos and all that kind of stuff. Explaining the entire layout, even here, request briefs. Here we can see just entire information about request briefs and all that kind of stuff. Especially when you work for a larger company, documentation is essential. Now the next one that I want to show you would be great for personal documentation, and that is notion. I'm sure many people already know about notion, but Notion is an awesome program website, Awesome website. So notion is something where you can just, like, keep track of anything. You can type stuff in. It's a bit tricky because I cannot show you anything in our notion, sadly. And the reason for that is because a lot of this stuff, it's highly confidential and stuff like that. But yeah, I can probably show you this. Let's say, over here, this is the project planning that I did for the tutorial and basically shows what we will be covering in this tutorial and all that kind of stuff. So with notion, you can give something a nice title and you can go over here. You can keep making pages or graphs. I will show you some of the things that I use mostly. So over here, first of all, yes, you can normal typing. This is a notion document. Next this, you can also make lists. By oh, sorry, I should not do it this way. When you hover over something, you can press the plus, and here you can have a bunch of stuff. So let's say that we make a list, we can go numbered list or bullet list, Test one, and then you can see that over here. It's a bit like word, but next to word, so it has the list. It has all this kind of stuff. You can also make multiple pages, page one, and here you can just completely start over. Then when you go back, you can see that over here, you have all these pages. So you can imagine that at one point, like these, everything you see here, those are all pages. So at one point, when we are in here, we can simply go ahead and you can create multiple pages. I'm just going to go over this quickly, like this. And then in those pages, you can keep tracking. And for the tracking, often, if you want to plan for a environment, you would do something like this. You would go in here. You can add a bunch of text in here. You can add a list and topics in here. Of course, you can also add in images and everything like that. So let me just Here we go. I can literally, add our request brief in here. So we have our images. You can make those larger or smaller. One thing that I really like to do also is I like to go up here, and there is one. If you scroll down, it's like a table view. And a table view is quite nice because if you go in here, you can, for example, say list, and in here, you can have a table where you can keep track of stuff. Let's say, for example, we make a let's call it like an asset list. Come on. Asset list. In here, what I can do is I can give the name so I can be like container, mailbox. And, for example, I don't know, Lantern, it doesn't really matter. Now, the reason why this is handy is because you are able to mimic Jira in a way. I can go in here and over here, I have a lot of options. If I press Added property, you can see over here, I can do everything from entering text, numbers, multi select status, and a bunch of stuff like that. If I do, for example, tags, I can go in here and I can say done and then I can create a done tag. When I do that, whenever I click on the next option, I'm able to again reuse that tag. And just like that, I'm able to, for example, give it different statuses. Now, all of these softwares that I've shown you, especially Notion and Miro, they are once again very flexible. You can go to share. You can go to publish, and you are able to, for example, publish this page, and this way everyone can see. You can share this link with other people. If you pay for notion, you are also able to invite team members and your team members can also see all of this stuff. For example, we used to have documentation. Over here. Oh, yeah, yeah, that's what I can actually show you. Should have thought about that earlier. So I'm like, I need to be super careful about what I can and cannot show you. So over here, for example, this is the documentation that we give external freelancers. So as you can see, the way that this is constructed is we just have some information. And then if you go into your asset workflow, you can see that over here. It's very similar to what we have in our confluence, but confluence is more internal. It's not something you can easily share. Well, you can share, but you need to pay for it. You cannot easily share it with other people. Notion is completely for free. So all of this stuff that we are able to share with people, give the free, we can give them downloads, text, a bunch of stuff like that, as you can see over here, defaults can work flows. What do we have? What is a request brief? Like, here we can once again see, but this one just goes over what it is and not how it is created. And just like that, we can hear access and using Jira. So this is again, just how to use Jira. So you can see that notion can be very useful to just create your own documentation, to share pages with people and just to do brainstorming and planning and all that kind of stuff. Of that, what I also recommend when you are an artist is I recommend that you keep a notion to just when you learn something new, white it down so that you can come back to it. If you feel like you have a workflow that you keep forgetting, just try to go in here. And for example, I know, do I have any workflows here here rendering a Mm set. Let's say that you keep forgetting some settings in Mamaset, you can quickly go into notion. Okay, coincidentally, I've just made a video, and you can go in here and you can just, like, white down your workflows. So notion is super useful. It's one of my most favorite websites. I use it a lot for, like, a bunch of stuff. So I would say that that is pretty much it for our overview. So yeah, notion, confluence, Mirror, Wi great programs. Of course, you have Jira also. For the rest of Google Images and Google Maps is your friend, PureRef still super useful. But like I said, I'm more going over the production pipeline. I'm not so much going over all of these additional tools. So knowing that, what we will be doing in next chapter is we will set up our reference inside of Miro. And once that is done, we are going to go ahead and just set up our folder structures. Then we can go ahead and have a talk about which route will we take with our asset. Let's go ahead and continue with this in our next chapter. 5. 04 Setting Up Our Project And Reference: Okay, so what we're going to do now is we are going to go over on gathering our references, which we have already done and also on how to set up the project. So first of all, what I want to do is I want to set up my folder structure. Now, once again, this is something that we automated within our company to keep everything consistent. Very important that across the project, you need to keep everything consistent, the same naming, the same flow, the same folder structures because else, it will be very difficult when you create a folder structure that is purely unique to you, and then another artist has to come in and they have to try and figure it out. For example, if you go over here, you can see that over here, all of our folder structures are exactly the same. Now, how do we keep track of that? Very easy. We have a BAT file over here, and a BAT file is basically just a file that allows us to create our folder structures. If I just go ahead and I open it up 1 second, once again, I need to check for confidentiality. Okay, here we go. I managed to open it up in Notepad plus plus, which actually is also an ASM program. So you don't really have to know coding. The way that we create this is we literally use chat GTP for it. So basically what it does is when we start this BAT file, it will ask us to set our ID or our folder name, which technically we already have. What it then does is it will create a couple of folders, the pots folder, ID folder, Images folder, LOD folder, saves folder, textis folder. And in here, it will create some additional folders, and that's pretty much it. So it's super useful. Now, we already created our container, but let's just go ahead and show you and I will just give this to you guys. I made it with Jet GTP. I'm not going to, like, gatekeep something like this. But what I can do is I can open it up, and then I can go in here and I can call it TT 00289 Large trash container, for example, like this. And I will just well, it should over wide it, but just in case I'm going to do underscore 01 because normally we don't have this folder already existing. Then what you do is you just spread Enter, and now you can see that a new folder has been created. Now, if we go into this folder, you can see that over here, we have a couple of folders. Now, this is our structure. Depending on the project you work, you will have a different structure, but this in general is a good structure to have even if you do personal projects. You start with an export folder. In here, you will export your meshes to Unreal, and this one you can ignore. I will delete it because that one is just for us. So we can export it to Unreal. Or what you can do is also have a folder called O in case you want to do other exports. Next, this one, again, we can delete, that's only for us. Next, we have an images folder. In here, you can render out final images, and you can also have your reference for which a, I'm just going to do this here, see? Right click. Cut. Go here images, delete that one and paste. There we go. So I can now delete the old folder and properly name this. Anyway, in here, what we also do is we also often place our final images that we render in for example Marmoset. So for your portfolio. LOD, that one is also not relevant for you guys. We often need to generate LODs next to our models. However, that will not be covered in here because that's just an automated process inside of Unreal engine, and we will most likely be using Nanite anyway. We have our say folder and our SAS folder will basically contain all of your save files. This is your tries Max file or your blender file. Also for texturing, we like to have it separately into a painter folder just so that we keep that separate. The reason we do it is because one, it's easier to find and two painter often adds a bunch of outer saves and stuff like that, which can make your folders quite messy. And then finally, we have a text folder, and in here we have a Bags folder, and we have a final folder. So the Bags you guessed it just if we do height lowly, for example, and the final folder is just here for our final textures. So as you can see, quite a simple folder structure, but also quite a powerful one. Now over here, I already went ahead and I added a bunch of images. These images I will also give you guys, of course. Most of the takeaway is that I went outside and I took these images. I happened to be in Manchester, and I saw this stuff, and I had my camera with me. So I just took a bunch of really nice images. That's why we also have these really great close ups, which will be great when we are creating our asset. Now, of course, you can also just go by with just finding a bunch of Google images. So don't be too worried about that. The general idea is still here, but I highly recommend that you have one main image that's also quite a high resolution. That is quite important because you will kind of base everything on that. But often models are also constructed out of other models. For example, these wheels, you can find reference images of just wheels, for example. You don't have to only find trash bins with wheels and stuff like that. So with these reference images, here we are in Miro, and what I tend to do is you have a lot of presets in here, but I don't really care about that. I tend to just close it. I tend to go ahead and create a frame I have over here. And just call it rev for example. And I always like to make this a darker color like this. And then I just throw in all of my images, except for my request brief. I don't really need my request brief. Give the second. There we go to load in. I guess because the images are really different sizes that they showcase a bit strange. With Miro, there is a limit to how far you can zoom in. So I always just go ahead and see the limit is 400, so I can see over here that my images, I need to be able to zoom in quite a bit more. Oh, wait, I get the problem. The problem is that these images are actually too hipol sorry highly too high resolution in order to actually upload Mirror here. See if I upload it? It's because they are above eight K resolution because my camera shoots like ten K or something. So in those cases, you can definitely lower the resolution amount, or you can just use Pure ref. Because I do want to show you the actual overview of how to use this, what I will do is I will first of all, just quickly move these images together because I often like to keep my images that I created myself separate from the images that I got on Google, because often the images on Google, they are from multiple different models, so they don't always look amazing. But I do like to always just keep this in, like, one area. And then this one, this is, for example, one of the manimges. I like to make that one a little bit larger. And all of this stuff, you can just zoom in. Now, one thing I was talking about before I interrupted myself, and that is that there's only a limit to how far you can zoom in. If you feel like you cannot zoom in enough, all you have to do is just grab your images, select all of them, and just make them bigger because then you are able to zoom in further. And you can just keep doing that until you are at a point here where you're like, Okay, now I can zoom in far enough to really be able to see everything. Now, I'm just going to grab my box over here. Like that. And now you can see that with this box, I'm able to basically move all of these images at the same time. But I can still also select the images like this. So we have a main reference. Now, for those images that are too large, there are multiple ways that you can kind of, like, optimize them. However, what I like to do is I like to always create a folder that's just called OPT, for example, because I would never want to optimize high resolution images and make them low resolution for no reason because I love high resolution images. It makes it way easier to be able to define everything. Instead, what I do is I use a software that is called Cesium Image compressor. It's completely free. Just go to Google, type in Cesium Image compressor. And nice thing is that you can basically drag in your images. You can go to the resize and, for example, set the let's set the long edge to so you can go up until 81 96. So let's say just 8,000 pixels, for example. Can go and resize and say, Okay, I want all of these images that are 9,500 to become 8,000 and then it will keep the same aspect ratio because we only resize on the long edge. We then go to output, and all I want to do is I want to go ahead and turn off the same folder as input and simply select the optimized folder. And then we can go ahead and press Compress. And what it will do is it will also compress your images. So it will optimize them in terms of file size, but it will also optimize them in terms of resolution. This is way faster than faster than doing it inside of Photoshop. Like just the saving in Photoshop, it will be so slow. And now that they are more optimized, oh. 1 second. Right click. I thought I optimized them. 8,000 by 5,000. What is the issue? Let me just see 8,000 by 40 96. I guess it reads it not just from one angle, but from the other angle. I completely forgot about that. Sorry about that, guys. That means that we have to sadly go for 14 96. Let's just go ahead and drag this in again. Let's go to resize and just set the short edge to 40 96. There we go. For the rest, everything it will keep the same setting, so we don't really have to worry about that. Yeah, that's I guess then another thing that is a little bit bad of Miro. That's why we don't use it as our main software, so to speak. Now that should work. Perfect. Okay. So yeah, we don't use Miro for our main reference, but we definitely use it if we want to just share reference with the team. And we also use it, for example, give me 1 second because I cannot show you it. Show it to you. Here we go. We use it when we want to showcase stuff to our clients. So, for example, here's the airport and we need to quickly just, like, show our clients high resolution images, then it's great because they are just able to, like, zoom in and see all of the images in their full high resolution without needing to download something on their PC. Of course, you can imagine for a client, it's annoying that they need to download it, create a folder, place it in the folder, then preview it, and then send it to other people in their team. It's a mess. So this is just way easier this way. But in any case, we now have our reference here. You can go up here and just name this TT underscore Trash, Rv, for example, doesn't really matter, something. And now you have something that is online. So if you happen to also be like me who needs to travel a lot, you are always able to access this reference. Now, having that done, what we will be doing just because it's a tutorial and it's easier for you guys, is we are going to use PUR Rf. PureRv once again is a software that you can completely download for free. I will not go over on how to download it. I do expect that you know how to do that. But what we can do with PureRv is once again, we can import images, and it doesn't have a size limitation. So we can literally just like import, see? Like it even shows that this is like the larger size. We can just import all of these images. What I often like to do is I like to have once again my own reference maybe make it a little bit smaller over here. And then I like to select all of the other reference, right click images, arrange and just arrange them optimal. And that will basically nicely place them into position, and then we can go in here and we can also have a look. So you can see that for this one, you can pretty much zoom in almost infinite, see? So that's also one of the nicer things about Puref. So definitely it's a lot more powerful. It's also larger file size, but I still recommend using it. I'm going to just right click Save scarlet reference. And once again, I will include this file for you guys. So at this point, we have our reference gathered and we have our folder structures done. Now the next thing that we're going to go over is an explanation on the difference between quality and speed in our models, which is something that's incredibly important when you are working in a production environment versus when you're working on portfolio stuff. 6. 05 Discussing Quality Vs Speed: In this chapter, what I want to do is I want to talk about quality versus speed. Now, this is something that when you are working for an actual studio or working on production, it becomes a super important topic. When we talk about quality versus speed, most of the time when you are, for example, a beginning artist and you are working on your portfolio, your goal is, of course, focus on quality. You want to be able to showcase the best possible quality. However, when you are working on a production, let's say that you're working on a video game, there's often a quality benchmark that they will make that you need to hit, but for the rest, they often want you to push out the content quite as fast as you can. Now, this is quite logical because for the company, often quality will cost a lot more time to create. That means that the company will spend a lot more money in order to be able to reach that quality. They often try to find a balance. Now, this balance is often set depending on the project, but to give you a very simple example, if you are working, for example, on a first person shooter game, they often tend to go a little bit higher in quality because the camera can go much closer up to all of the objects. However, if you are working, for example, in an open world to person game, you can imagine that you need to generate such a large amount of content in order to make it open world, the quality levels are often quite a bit lower and you basically use different techniques in order to reach the quality and still have a very decent speed. Now within this, they also, of course, have a lot of technical stuff. They will have different technical shaders, for example, games that focus more on quality. They might allow a little bit more unique textures and stuff like that. While the games that focus more on speed, they might have complete shaders that will actually handle most of your texturing and that's something that we'll go over a little bit later. So over here, I made a little graph with some arrows just to show you a little bit about the quality versus speed, and I wanted to give you some examples. So first of all, you want to go ahead and you want to figure out, okay, what's the project I'm working on? Most of the time, you will have a senior artist or you will have a technical artist explain to you what you can and cannot do. But let's, for example, grab our trash can that we have or trash container, sorry. Now, there's two roads that we can take, and both of these roads will work to give us a high quality asset. The longest road is to go to the quality route. So in the quality route, you often go in terms of assets for high to low poly. I'm sure that we all know about that, you basically create a high resolution mesh, you create a low resolution mesh, and you then unmapped it and you bake it down into normal maps into ambo occlusion maps and a bunch of other maps. This will often give you a much higher quality mesh. However, as you can imagine, it will also take quite a bit more time because you need to create that high resolution mesh. You need to create a low resolution mesh, you need art supporting loops, you need to make sure that there are no bugs. You might want to go into Zbrush and do some additional sculpting, and it just all becomes quite a bit. So within these two stages, let's say that, for example, if we would be making this asset for my portfolio, or it is a hero asset, that's when you often would go into the quality levels. And when I say hero assets, hero assets within games or movies are often assets that are seen a lot. Or they are really close to the camera. So for example, a container, technically, in our book for our company, a container would not really be a hero asset because it would be something that's often standing in the corners and stuff like that, and it's often not the most complicated model to create. I'm just having a think about what would be a hero asset for us? A hero asset. For example, a while back, we made a warehouse, and for that warehouse, we make a forklift. Now, a forklift is such a integral part of a warehouse. It's something that really stands out as an asset, and that can be treated as a hero asset. However, for example, stuff like we also created some tables. Tables rarely are hero assets, for example, just to give you a quick overview. So let's first of all, run through the quality, and then we will run through the speed. I will just tell you some stuff, and then we will decide what we will be doing. So quality. Within quality, there are two different levels that you can have. You can have the high to low workflow that is more optimized. The high to low workflow that is more optimized, it basically means that you will create a high pole low poly but the low poly will be extra low poly. For that, I can actually show you. Here we go. I made a little example for you guys. So here, this is like the optimized low poly version. As you can see in this version, you have really hard edges over here, and basically, we will use norm maps to try and kind of cover those etches, and for the rest, we are just using the bare minimum of polygons. Of course, this asset is still created for A games. So do keep that in mind. Now, you would often go that direction, depending on let me just go back. You would often go that direction depending on your project requirements. For example, if you are working on VR games and mobile games, definitely have to go in this route. Actually, for VR and mobile games, you often would go in the height low poly route because you would not be able to have the geometry to go the speed route because you cannot use as much geometry. I'll talk about that later. We have that one. Now, the second one that we have is height to low plywood weighted normals. The height to low plywood weight normals uses a little bit more geometry, and because we are using a bit more geometry, the normal maps will come out a little bit cleaner and also the bare model will look a little bit better. For that one, let me just show you. Is this one over here. So here I have my extra low ply, and here I have one, if I just turn off my edge and faces. Here I have one that actually uses weight normals along with the low ply. As you can see, we basically beveled the main edges that you see over here. Although, to be honest over here, these edges, they technically don't have to be beveled. You can actually remove those. So that's just because there's something else that I want to show you later on. But in general, what you would with the height low poly method with weighted normals is your large edges, you will bevel them and you would give them weighted normals. Because we are already adding smoothening on our edges over here, not only does the model look really good even without any norm maps or anything like that, but also you can see that these edges they will read a lot better when we bake our norm maps. Now, often within these two techniques, let me switch back, something that you also need to keep in mind is the object scale. The height to low boiler with weight normals is more something for really large scale objects. Because of the large scale objects, often your camera can get quite close to it, and because of that, you will need that extra little bit of resolution to make it not feel too low quality. The height to low boiler that's optimized is great also for just like smaller objects, even for A games. Now here I have two bags. Here I have a low poly with weight normals that I bake down, and here I have a low poly without weight normals. Now, as you can see on first glance, because this is a small object, you don't really see much of a difference. If we just go here, you can see over here that the edges are quite a bit harsh, see here at the top. But in general, it's something that you kind of get used like when is it needed and when it is not needed. For example, for these pipes, I would probably just go for the low poly without weight normals if unless my camera gets really close to it. Over here, you can see that the shapes, they are a little bit more well defined and you can see that the lighting catches it a little bit better in these areas. Also over here, you can see that it just covers everything a little bit better, and that is because of the weighted normals. Now I just want to go ahead and I wanted to show you. So over here, I have an example if I just go ahead and here you can see. So here you can see this is the extra low poly just inside of marmoset. You can see that it starts to struggle specifically on these edges here, see? It starts to struggle a little bit. Also, when you go to the sites, over here you can see that everything is just a little bit too sharp. Now, that's totally fine when you are looking at it from this distance. Like, you will never almost never be able to see it, especially when we have full textures on it. Here, however, we have one that has the weight normals, and I can probably, let me just do this. Here we have one wet the weight normals, and you can see that when we let it load a little bit, it reads just a little bit better. It reads a little bit less sharp. And just in general, for larger objects, I hope that you can imagine, because this is just an example. But I hope that you can imagine that for larger objects, this will just like read a little bit nicer, especially around these areas over here and like around the sites. Like, everything just like feels a little bit softer and the lighting catches just a little bit nicer. Now, this is something that is mostly experience in terms of, which one you should take. And often it is just one quick question that you can simply ask your senior or your lead to be like, Hey, for this model, if you're not sure, of course, like, Hey, for this model, should I just do the height low Poli version or should I keep it extra optimized, all that kind of stuff? So once you have decided which type of model you would want to create, that's the big part, then both of those models, they basically end up in the same form, which is the UV unwrapping over here. So for your UV unwrapping, when we do high to low quality, sorry, when we do a quality model, what I tend to do is I tend to UV unwrap it manually by hand, so I place all of my seams by hand. And then what I would do is I would end up doing some semi manual packing. What I mean with that is, of course, and I assume that you do know about the basics of UV unwrapping. Once you have UV unwrapped all of your pieces, you would have to pack it into your square into your one by one square. Now there's a few ways that you can do that. You can do an automatic packing. You can do everything by hand. However, something that I like to often do is I like to start with an automatic packing, and then I like to spend an extra bit of time to go in and manually adjust it a little bit to give me the best possible quality. Now, that manual adjustment again takes more time. So that's why it is in the quality section. After that, we have baking. Baking is once again, it's something that takes a little bit more time because the speed workflow doesn't even have baking. See, there's not even a baking involved. And then what we would do is we go into our unique texturing. Now, often when you create a height to low poly model, you end up with also unique textures. I woe down here that sometimes you can still use trim sheets or tilable materials if they are needed for optimization, but that's something that's really engine specific. So for example, sometimes, if you have just like a simple metal object, you would want to sculpt and bake the metal object. But then next to your unique norm map, you would, for example, use tilable materials of a metal to just quickly give it some texture. So that is basically like the work for for here. You would often spend a lot more time on pretty much every single stage, but in turn, you will get a higher quality model. Now, I know that's a lot of information. I hope that you can follow with it, but we're almost there. The next one is the speed. And this is the one that you most of the time, depending on the project, you will probably use this for 80% of the time, to be honest. Alas, when I was in D division, we used this 80% of the time. In our own company, we use this 80% of the time. The reason for that is because it is depending on the model, it can be double as fast as the quality method, while only giving you a very slight reduction in quality. And often you won't even get a reduction in quality. It really just depends. So what happens here? Instead of creating a high pool and low poly, we basically create a model that has weight normals. You can almost see it as just being the low plywid weighted normals over here. Literally, as I said before, it would just be this. Now, weighted normals in case you don't know, but I definitely recommend that you look into it way more. Weighted normals is basically a way of giving your edges bevels and then manipulating the smoothening on those bevels to make your edges look very smooth with limited geometry. Now, as you can see, this method is a little bit less optimized. You can see that over here, in order for the weight normals to work, you will have to give it some type of bevel or support, else it just doesn't know what to do. Now, over these larger objects as you can see over here, this is not that much extra geometry. But if you have a lot of smaller objects like we have over here, you can see that over here, I on purpose, even gave these objects bevels. Now with these objects, you need to kind of decide for yourself. If you are not going to preview these objects very up close, what you often tend to do is you tend to just keep these hard edges. So they will basically, they will basically just be like this over here. So that's pretty much the difference that the edges look a little bit harsher. However, often, you can imagine that from a distance, if I just do this, from a distance, you won't really notice that. Although I would argue that if I go, let me just duplicate this. And move it over here. I would argue that here, here you can kind of see different. I'm just going to height selections. And you can see that from this difference, you still see a little bit of a difference. Here you can see a big difference. But you can imagine that at one point, there is such a minimal change within the one with weight normals and without that in smaller objects, you often choose to simply not have those have weighted normals on them. And that is something that you often even get guidelines for whatever project you're working on. So that's basically like the speed, oh, God, um there we go. So that's basically the speed option. Now to do another time save, what we would then do is we have two options. We have UV unwrapping with automatic packing, and we have 100% automatic UV unwrapping. Now, I use these in different methods. So we have our UV unwrapping with automatic packing. I would most of the time use this method whenever we are doing unique textures or sometimes when we are also using trim sheets. So the UV unwrapping would often still be done by hand, especially if you have something that is like cylnes because currently automatic unwrapping, sorry, just isn't really good when it comes to placing seams. And you always want to place your seams in places where they are not very noticeable. So for example, here, you would not want to have a seam running like straight along this edge over here. So I have the seam, for example, hidden over here in the side so that it will be less visible. And that's something that can only really be done whenever you are doing manual UV unwrapping. However, in order to save time, I do do automatic packing. Depending on the program you use, automatic packing is not always the most optimal version. Now, for example, if you use a UV specific program like Rhythm UV, the automatic packing will be a lot better. But if you, for example, are using TSMC, the way that it would basically work is you would just scrap your models and I will show you how quick it is. Imagine that you already placed all your seams, as you can see over here. You basically just open up your model and then you can go down here, rescale the rotate, set the padding low, and you basically just pack it. And here you can see that now, see the difference. So this one was the one that I had before, and you can see that I scaled up some elements in order to give the bolts more resolution. This will make it better for baking. But you can see if I do just like a quick automatic packing, yes, it packs it quite close, but you can see that there's a lot of empty space here. With this model, it's tricky to even fill up the space because we have very specific shapes. But you can imagine with a model that has a lot more pieces, that extra space that you have over here that you are not filling up, it means that you are losing resolution. But that is a sacrifice that you're willing to make in terms of speed. So let's say that you lose maybe 5% additional resolution, but in turn, you are saving maybe half an hour. Now, it's up to you to decide and also up to the project to decide if that half an hour is really worth the 5%. If it will be super, super close to the camera, then it might be then it might not be worth it. But if it's just like a random bin that's on the street in open world games, honestly, it's rarely worth it. Now, you also have the 100% automatic UV unwrapping. Personally, I only use this one if I use only tilable materials on my model using the automatic unwrapping, and I will show you again an example. So here you can see how our seams are really nicely placed and in proper locations. The thing is that when we do 100% UVW unwrapping, so let me just do this like this, and then I will show you, you can see that the seams are horrible. So especially on cylinders, it will be better when it is a simple square object or it's only square objects. But just to show you an extreme example, this is not looking very nice, as you can see. However, when you are using tilable materials, those seams are often not visible because the automatic unwrapping, it unwraps things in a way that all of the tilable materials kind of flow over each other. So using only tilable materials is a way that you can save a lot more time. So we have our unique texturing quite basic down here. So it's just creating unique textures. This is something that we most of the time do for assets. Tilable materials is something we only do for very large or very simple assets that only have one material. Trim sheets. So trim sheets, and I will show you also an example. So here you can see sorry, so for the weight normals only, here you can see an example that this is, for example, all only weight normals, no high to low poly baking, because it's a fairly large object that we just need to create to very quickly construct a kitchen. Now over here, if we now go to the texturing, we have our unique texturing over here, and you can see that for this object, we decided to go for a unique texture because it has so many specific map details and different materials, and it just makes more sense to make it unique. Over here, we have this one is our tilable materials. And you can see that because it's just like a very simple metal structure, as it's easier for us to just throw on a simple tilable metal material. And then finally, over here we have our trim sheets, and trim sheets are basically, as you can see over here in this model, let me just give you an example. Here we go. A trim sheet is basically one texture that combines many different elements. In this case or in this example, this entire scene uses this one texture over here. So you can see that we are optimizing a lot by re using one single texture for, like, a large amount of assets. However, you also have a lot more limitations in terms of the fidelity of your textures because everything will kind of look the same. So once again, it all kind of depends on the project. Now, once we have decided on these three unique textures, sometimes, if we, for example, use tilable materials or we also use trim sheets, we use something that's called an additional dirt mask. This is something that's often done in the engine. And just to show you an example, here is, for example, a simple texture. Imagine this for now to be like a tilable material. However, table materials, they don't have any localized information. Sometimes you want to add something like you want to add some leaks, you can see over here, you want to add some additional dirt in between the edges, all that kind of stuff. You even want to add AO maps to this. Now, this is done inside of the engine using a additional dirt mask. Now, I have a actual tutorial on this, so I will go ahead and I will show you 1 second. Here we go. Sorry for the delays. I need to drag it over from one screen to the other screen, and that's always a little bit laggy. But anyway, as you can see over here, I have a tutorial. So if you just type in faster tutorials dust mask in YouTube or just look up this sentence over here. So adding DRT to models in real engine using masks, it will show you the general concept. As you can see, it's a half hour long tutorial, and that's why I'm not really covering it now. The general idea is that you have one texture, and the texture has a different mask in the R, G, B, and A, and those masks control different stuff in your shader. So, for example, with this one, we would say that the mask in the red channel will cover ambient seclusion. The mask in the green channel will cover dark leaks. The mask in the blue channel will cover roughness variation, and the mask in the Alpha channel could, for example, cover color variation. So with one single texture, you can add a lot more detailed information. This is actually the technique that we also used when I was working on the division, where we often created models using only weighted normals. We did UV unwrapping with an automatic packing. And then often what we did is we often use tilable materials only, and then we had a really powerful shader that was able to add rust, dirt, damages, and all that kind of stuff on top to create the final models. So that is this overview. Now, as you can see, this overview is often quite a bit faster, and that's why this is the one that we use most of the time. However, if you once again want to go for portfolio quality or you want to go for hero asset quality, then I recommend going this route. So now let's have a talk about our trash container. The first thing that we would do is we would assess the actual model. So here we can see that we have our model. Now, with this model, the first thing that I notice is that we have a lot of localized damage over here. Because of that, it would be much more logical along with all of these details to make this a unique texture. Now the second thing that we need to consider is what are we going to do if we are going to go for the weight normals route or if we are going to go for the hi poly route? Now, in general, this model could totally work with weighted normals. Only the one thing that I'm a little bit worried about is, for example, the welding that you can see over here. Now, for those things, you could choose to do the welding inside of sebush for example, and sculpt it at which case you would need to do high to low poly baking in some capacity. Or what we can decide to do is we can decide to do the welding actually inside of subsisPainter. Now when I see this entire model, I do see a lot of these additional pieces, which it would be handy to just bake them down low going from height to low pool. However, these pieces can also be replicated inside of substance painter. So what would be my assessment? I want to make if I want this to be a just really nice high quality model, I will probably go ahead and I will probably choose to have high to low pool with some weighted normals. However, then to save time, what I would do is I would then use some UV unwrapping with automatic packing. At which point I will go to unique sorry, to baking and then to unique texturing, and that will be the end of my model. Like I said, you can totally combine different workflows in order to save some time. Now, if this would be for a large production environment, which it is. It's actually for a city environment. Then what we might decide to do is we might decide to just do the welding inside of substance painter and only use the weighted normal method so that we can avoid needing to create a hypol and do some baking. But this is a tutorial. I want to show you guys some pretty decent quality. So what I will be doing is for this asset, I will go ahead and I will go for the high to low poly. The nice thing when I do this is that I already have all of these details in here, so I don't have to create those inside of painter, except for maybe the text and that kind of stuff and also the welding. And it will also give you a really broad overview on how to create a high quality asset. And then what I will do is I will also go ahead and I will create an additional asset after we have completed this entire asset, which will show you the speed method, and that asset will actually be the vent kit. So if we go over here, there we go. So that will actually be this one where I will basically create some ventilation shafts that are modular, and for that one, I will use the weighted normals technique. This way, I can give you a really broad overview of both of them. Now only for this trash container, we will use the bonus chapter where we will also create it inside of blender, else it would be a little bit overkill. I will also showcase to you how to create it in blender. However, what we are going to do now is we are going to get started in the next chapter by creating our blockout, and I will be using TS Max for that. We will create a blockout in order to define the general shape and the scale of things. Then what we will do is we will already set it up inside of Unreal engine, and we do this to just make sure that everything is already ready to go for our level artist to place it. So that was quite a big overview. I know that it's quite a bit of information. I recommend maybe watching this video again just to really take everything in because I just threw so much information at you guys. But in general, I will also share this Miro document so that you can have a closer look at things. And let's go ahead and got on to the next chapter. 7. 06 Creating Our Blockout Part1: Okay, so what we're going to do in this chapter is we are going to get started by creating a blockout. So blockouts are often very important, especially during production. Basically, the reason that we make blockout is one, to make sure that we have the correct scaling, which will help us when we create a final model so that you don't have to tinker with the final model if your scaling ends up being incorrect. Two, which is probably the most important thing is that often there is a lot of time between creating your blockout and creating your final model. This just happens during production. During production, you often have stages where you have like 300 or 400 assets for your asset team, for your prop team that they need to create. They will not create those assets one by one, because if you do that, what happens is that your level artists who actually design all the levels, they don't have any assets to place. So what you would often do is you would create a blockout, which will represent the general silhouette and the look of the assets so that you at least know what the asset is. Then your level artists can go in and they can use those assets to place everything around. And then in time, you can come back to that asset and create a final version. And it works the exact same way in our team, for example, and in many other teams. So what we like to do is we like to create our blockout which we're going to do in this chapter, and we are going to already set it up inside of Unreal engine just to have a representative asset, so to speak. So that's what we're going to start with. Now, sorry if my voice is still a little bit low, I actually am recovering from COVID, there has been about a week since the last chapter that I recorded. But anyway, let's just do this. We have plenty of reference. But what I often like to do with assets that basically exist in real life is I like to look up like scalings like this. Now, you can often find these scalings, just like on Google Maps or something. You just type in like trash container, dimensions, for example. But there is this really cool website I found recently, which is called dimensions.com, and it has a lot of actual dimensions in here. So, for example, you can go here like a door, and it will show you the door. And the cool thing is, it will show you like all of the scalings of the door. And even sometimes like a three D model, it will show you the general height of specific things. Some are better than others, but you can go in here. And type in, for example, container. I don't know if this trash container is here. Like here, you can see, like, a lot of containers and stuff like that. If I go trash, Container here. We can see a bunch of stuff. Now, I might not find here looks like for some reason, the website froze. There we go. That was weird. Looks like I cannot find the exact trash container, but it's a really useful website. Like if you need something, you can often just go ahead and you can find it and find different models. These ones are a lot from Ikea, I notice. But over here, there we go, see. Here you get the crag screening. I don't know why they don't show the height. That's really strange for this one. Normally, they show the height. So don't get me. But yeah, basically, cool website, have a try with it. You can often even download the base tree model if you need some kind of scaling. But yeah, in general, I just wanted to show you that. We have our scaling over here, and this scaling, if I see 12 70, most likely what that is is in centimeters or millimeters. I think millimeters probably. Yeah, it won't be centimeters because that would be 7 meters. So it would probably be 72 centimeters. Feels a little bit small compared to what we have. Like ours looks a little bit wider, but it's just like to get a general scale. What we're going to get started with right now. Now a blockout only needs to get the general point across, so to speak. So I'm going to use TS Max. There will be a bonus chapter on how we are doing it inside of Blender, but we're going to go ahead and get started with this. Now, the first thing I'm going to give you guys is over here in the exports and others folder in your source files, I have added a scale v. A scale v is quite common. It's basically just like a person that is correctly scaled based upon your game, which you can use to just get a general feel. Also, what is nice is that it actually is forward facing based on Unreal engine. So you can see, for example, over here inside of three S Max, the forward facing is actually on the right, compared to Unreal engine. Now, of course, you can export it and change it, but it's just easy to right away, make a model like this. I then right click here at the All right I realize I don't have my keyboard registration turned on, so let me just have that over here down here. And in my home grid, right now we are at millimeters. I do not want that. Let's go to customize unit setup and set this one to centimeters because else, it becomes a little bit difficult. You can see that when I do centimeters, the grid instantly also becomes quite a bit larger. Um, yeah, a grid point of 10 centimeters should be fine. Okay, cool. So we are going to mostly go ahead and start by creating our main body over here. So I'm going to start by just doing that as a box. We're going to start with a very simple box that we are going to draw out. And then with this box, let's have a look. So in general, if I go over here and also, you just sometimes want to have some logic. For example, over here, you can see the person, and you can kind of guess, like how high these things are based upon the person or like the car standing next to it. So just something to keep in mind here, see? Some are smaller, some are bigger. In any case, we have over here, so we have 3,040. I just want to make sure that it's not inches or something because I'm from country with centimeters and millimeters and everything. So, what I will do is in our height. So if it is 1340, that is 134 yeah, that makes sense. Okay, so it looks like it's in millimeters. So just keep that in mind. Of course, 1,340 inch would be absolutely giant, I believe, but I just want to make sure. So okay, we have that. So we have 1,340. But remember that over here, we still have some spacing left from over here. So this is like 230. So let's say that we just do like 1,100. Let's keep it even values. Oh sorry, 110, I mean. 110, and then I can go up here, so this is 23 centimeters off the ground like this. There we go. And you can also go ahead and you can also center it in your object over here. Now, next what we have is we have our width, which is set to 72, but 72 is too thin for our version. I get it over here, that makes total sense, but our version, as you can see, it's a little bit of a big boy. So let's go ahead and go for let's see, 100. I'm just going to basically do it by I at this point. 90. Yeah, 90 centimeters feels about right. Like I said, we can be flexible like we're artists. We can just make it however we want, of course. We just twy make it fairly logical. And one, two, seven, one, two, seven over here. Okay. And now I will just keep switching back and forth. I hope you don't mind. Okay, so one, two, seven. I feel like one, two, seven. Yeah, that could work. So let's say that we have this as like a base. Now, inside of Max, I will need to convert it to add a pool, but basically just whatever program you use, get to the point where you are able to edit your mesh. Now, if I see over here, I can see that the edges, it's not like perfectly straight. You can see mostly over here. Like, everything is going a little bit like sideways. Like, I often happens with containers. This is still a blockout, but I still want to get something like that. So what I will do is I will go sideways. Maybe 110. I can look at the bottom. Like, I cannot show you because then I need to move my mouse, but here at the bottom, in Max, you can see it. So 110 ish should be about fine. I also feel like it's a little bit high off the ground. But I'm not completely sure about that. Now, of course, sometimes you have, like, a side view and you can model things from a side view. That's totally fine if you do something like that. However, I'm someone that often just does things a little bit more manual. I'm going to quickly create a wheel and that's just so that I know roughly from which point the body needs to be. You basically just create the pieces depending on your use case that you need from it. So over here, 18 sides for now is fine. I just want to have a simple cylinder that is sitting on the grid point over here. I'm going to go ahead and I'm going to make this a little bit thicker. And if I have a look at my reference over here, yeah, of course, it has, like, a little bit on the side. Sometimes I like to just go in and I like to just, like, think back of H I ever stand next to this container I have. And slightly larger wheel size like this feels right. Like, I would probably go maybe for a diameter of 9 centimeters and then have some junk sitting on top that controls everything. So let's do that. I think that's a good size. So here, 9 centimeters. Now, for the stuff sitting on top, I don't need anything super special. Like, we're going to go ahead and create, like, a really nice and complicated mesh later on. For now, however, we are just going to go ahead and make, like, something like over here. It's just a blockout. Can be very simple. I don't want to spend too much time. Normally, I do instruct my artist to spend a little bit more time, specifically on the blockout because we use our blockout to also show to clients like our work in progress, assets and stuff like that. So it kind of depends on what you need it for. What I would do is I would have it somewhere over here. Just have it sticking out. Select these phases. And, of course, this is not a when you're watching this tutorial, it's not a basics to tree modeling tutorial, because I would say that it would be a bit strange if you are watching a tutorial on how to actually work in a studio, but without actually knowing the general workflows. But of course, if you are watching that, we have plenty of beginner tutorials, also that you can follow if this goes a bit too fast. I will, of course, explain everything to you, so don't worry about that. Just something to keep in mind that I'm not covering the basics of tree modeling here. I'm just adding some chafos near the end, which if you just add more chamfoss often a great way to, like, very quickly add some interesting stuff. And now it looks like that, what I want to do is I'm just going to go in here and just do a simple inset for my faces, something like this. And then I'm just going to go ahead and I'm going to that's annoying that it swips or goes around the one way, something like this. Let's go ahead and just, like, extrude this out. And I'm going to move this one, probably somewhere over here. Add a quick loop. Oh, looks like that. In Max, you have a trick where if you cannot have the loop on one side, you just select all the edges and you use a connect. Now, there are probably relevant tools in any other three Mlling software. But basically, the goal is to get a loop exactly on both sides so that we can just push this in, something like this. And I'm just going to like very quickly like, there we go, see? It's just to indicate, like, Hey, this is where something is sitting. I can just, like, do this just quickly to move it up. And, I'm just going to move this up a little bit. Okay, so that already feels pretty decent. If you want just to indicate it, you can also go in here and you can select the cylinder, inset it somewhere like over here, and then we can definitely see that our metal needs to be a lot smaller, but that's something that I'm honestly not worried about right now. I'm just worried about the scalings, not the actual finer details. But anyway, what I want to show you is that you can just go ahead and select both sides, extrude settings on the local normal and that way you can kind of extrude them in at the same time like this. Move this in, maybe do, like, oops, one more scale in and then do, like, a nice little extrude out. Until it hits the metal. There we go. Just for fun, I'm going to add some chafls on the end, just to make it seem more like a wheel instead of like a box. Okay, cool. So we now have something like this. For easy movement, I'm just going to attach these two together. And now what we can do is we can basically go and do not just move it down. I like to just go in and just like, push it down a little bit to make it a little bit larger because I quite like the height that we have. So this will work quite well. Now I'm going to have one wheel here, one wheel here. You can see that it's kind of like sticking out at some point. So I guess what happens is that the wheel and I'm just going to do some random rotation. The wheels are probably like here, like the edges. Now I need another wheel. Oops. I want to do this one. If you hear some clicking, I do apologize for it. Normally, I'm using a mouse that is like specially silent. However, those mouses, they really are not made for tey artists that need to be able to move around very fast and rotate around. And it will just make things seem very clunky, so to speak. So I just wanted to let you know, like if you hear some clicking, I do apologize. I will try to, like, remove it in editing. However, the upside is that I can move around easily, and I can probably show stuff instead of like just like very awkwardly mess around with things. So now that we have done this, that's looking pretty good. I'm going to give my side some round edges, extrude out this piece over here, and maybe just quickly add like one of these pieces. Amil, did you not take a picture of the back? That sucks. Okay, that's my fault. I did not take a picture of the back, but we can improvise by seeing the font. It's not going to be that big of a stretch to know where the back is going to be. So anyway, let's go in, do a quick little chamfer, give some edges. And just make it a little bit round. I feel like I like to often work with even numbers. So around ten seems quite well. Now, nice thing about that is that you then can also go in and you can properly place your wheels because your wheels need to, of course, stay on the inside of these loops over here. So, okay, we have that. There is something like piece down here. If you want, you can do that. You can go ahead and add two connects that are like here, down at the bottom, something like this, and then add maybe another two connects that are somewhere here, and then you can just extrude this out just to give it a silhouette. That's what I'm mostly focused on right now, anything that gives silhouet. There we go, see? So that definitely adds a little bit of value. Now what we need to do is we need to go to the top and we need to have just above the top this chunk over here. Now, this piece is actually separate. So what is really cool is because we are doing the height to low poli technique for this specific asset, we can make that separate, and later on the inside of Cebush we can go in and we can, like, add some really cool welding here and there to make it all look really fancy. However, for now, what we can do is we can go in and let's see, it's probably around I'm just eyeballing it at this point around here and probably something here. It looks like that it ends just before I turn, something like this. Then I'm just going to scale this flat because this is supposed to be a square piece over here. Now what we can do is we can go in here. Push this out a bit. I'm just going to go to my site view. Where are you? Side view. There we go. And make this a little bit bigger. There we go. Just to give it that little lid over there. Now, I first want to now get started by working on the top. Do you have any better pictures? Not too many. This one is pretty good. So let's first of all, go ahead and work on the top, and then we can continue on with the rest. So for the top if I just go to my side view and just move the little guy out of the way, it looks like we want to get started with like a cylinder over here that kind of holds our actual mesh. Let's make it a little bit thinner. And I'm just having a look on my reference, like where about it is. It's just on the edge, looks like. And now I like to go to Bitfu and over here, I like to also just have a look where I want ended. Let's convert to Adipol, push this back. Maybe make it a little bit thinner, but for the rest, that should be totally fine. Okay. Awesome. Now I'm going to go ahead and for the top, I'm still just going to use simple box modeling. I'm just going to use a very simple cube over here, and we just start with the trim and then take it from there. So we start by just pushing this just on top, converting this to addi pool. Gift is like a nice thick edge. And let's see. So this one pushes out just over it. This one is sitting almost on like the tip of it. So I'm not gonna move that one too much. And yeah, later Magana, of course, go way more precise. So that will come a little bit later. We can also decide if we want to make an insight. Most time it would be quite logical to have an insight over here so that you can have more variation because it's very limited work to create the insight. Like, often you have an insight, but you wouldn't actually, spend a large amount of time on it, so to speak. Yeah, let's do something like this, give it some round edges, but it looks like only on these sites, we want to have the larger round edges. Yeah, something like this, just to get started. Maybe then some smaller round edges around here. Now, it looks like you want to kind of, like, inset this somewhere over here. Now, you will see that over here, it sometimes happens when you inset something really small. You just want to kind of collapse those vertss because they don't know what to do because they don't have any space to go somewhere. And at that point, for this one, I'm going to keep it very, very basic. I'm going to extrude this up. Then I'm going to go ahead and probably go to my side view that would be easier over here and push this up like this. And maybe let's go again to side give it a little rotation. Yeah, there we go. That should do the trick. We can also go in and just for now, just because it's quite a big silhouett, have it that little hole on the inside. A little bit bigger, maybe like 30. And we can then go in and sometimes what's nice is you can just use the cut tool, and on these round edges, you can just make a simple cut like this. In this case, it looks like that we do need to go a little bit deeper. So let's go for something like this. And then these three phases, I'm just going to delete them. Then go to select this outside. And I'm going to kind of, like push this in combine these two vertices over here and do a little cap poli just because I don't like here, see, I never like it when there are these vertices that are just floating around, so I like to connect them. So now with all of that done, the next thing that I'm going to do is I'm going to go ahead and select the top and I'm going to convert this to edges. I'm sure that you guys have some similar way, but basically just convert all of these things to edges. I'm also going to select the corners over here. What I will probably do is I will not select the back. The reason I don't want to select that is because we are basically going to just do a really large chef for now like this, just to give indication of, Hey, this is supposed to be around. But what will happen is that we have a bunch of edges that are basically broken. Now, it looks like over here, I can just press control backspace to remove those edges. Over here, we can often just do like a quick lapse. I'm using Alt X to go into X ray mode over here. However, just do whatever you want. As long as you select those vertices, it's totally fine. Let's see. Just for fun, I sometimes like to just add a little bevel around the corners over here just because it reads a little bit better. There we go. And what I need to do is, I'm just going to Control A, and I'm going to go ahead and just weld everything. Oh, wait. Let's do that bevel because let's do it now already. Let's press Contra A, weld and I like to often weld everything at, like, a very low value. Because what you can see over here is sometimes there are these hidden vertices, which are basically just messing things up a little bit. There we go, see. And now with those hidden vertices gun, that reads quite a bit better. So do we have now a container that feels somewhat right? Yeah, I think we do. Over here. Technically, you also still need something to kind of go around this edge. Now, it's up to you, there are so many ways to do this. What I can do is I can, for example, just duplicate this cylinder, move it back, scale it out a little bit, something like this. And just kind of, like, very dirty way, but just select these edges over here. And it's just to indicate, like, Hey, there is going to be something here. Sometimes I like to, like, sent on my pivot because that makes it easier for me to scale things down. There we go. It's just like to indicate like, Hey, okay, there will be some type of connections here. And it looks like there will also then be a larger connection, but we are going to make this really nice in the next few chapters, of course. For now, it's just going to be very quick and simple. Now, let's not forget to actually save our scene that would always be good. Saves and I just like to always save this the same name. So TT 00289 Large container. And I like to do 01. This is just because sometimes you want to make variations, so it's always good to just say, like, Hey, this is number 01. I think that should do the trick, pretty much. Last thing that I would do is just create like these sightings over here, and then I'm sure that we are pretty much ready to go. So for these sightings, let's just go into our site view. I like to just use a spline. Now, splines are really specific. I would say two t is max. You can totally also do this in Maya, but spins inside of blender are a little bit more messy. So just keep that in mind that you can use whatever you want. You can also extrude out a sphere or something like that. I just like to go ahead and, like, use splines because they are just a little bit more flexible. And I'm only going to create like half a spine because why would I make the other side if it's a mirrod version anyway. It's going to push this spline in it looks like that is actually coming out a little bit to the side, something like this. I want to give it enough space, so let's push this out a bit more. Okay. Now let's go in and inside of Tres Max, we have a really nice note, which is the filled mode inside of your line, which allows you to basically, nicely give it some round edges and rotations. And then one of my favorites is the Sweep modifier. If you don't have all these modifiers up here, you can just go ahead and press configure modifier sets and show buttons. And then in your configured modifier sets, you can drag in all of the modifiers that you want to show up in these little shot cuts. So I will mostly just be using these shortcuts. I can go I can set this to be a cylinder with my sweep modifier. Let's go back into my line. If you cannot see your line, I'm just using this button. It basically shows the end result. So over here, we can basically see a line. And then what we can do is we can just throw on a symmetry modifier. Oh, throw it above the sweep, turn on flip because it was flipped the ong way around. And something like this, just to indicate that there's also another shape there, and then just go ahead and duplicate it. Rotate at 180 and push it back in here. There we go. I think that should pretty much do the twig. What we'll be doing in the next chapter is we will go ahead and we will prepare this for Unreal engine and already input it into unreal engines that we already have a mesh set up. Let's go ahead and continue with this in the next chapter. 8. 07 Creating Our Blockout Part2: Okay, so we are going to continue with our blockout by preparing it for reel and already setting it up in reel. Once that is done, what we can do is we can get started by actually creating the final model. At which point we will be much more accurate. Over here with the blockout, I'm mostly just focused on the general scale and that you can see, hey, this is a container. The first thing that I want to do to prepare this for unreal engine is this is mostly trismc specific, but you can definitely also use it in blender, add it into some group or layer. We often use layers and then we just go up here and we can just call this blockout for example, just to keep things nice and organized. Then want to go in, and I want to just go and apply a single material to it. So I'm going to go up here to my material editor and give the second to load. I'll just call the container. Now, of course, we are just going to do a very base setup for our blockout just so that we have something that we can use. And later on we will, of course, do much more refined setup for our final model. So over here, we now have one material. We have one model. I'm totally fine with having all of these multiple models in here because they will all be merged together anyway inside of Unreelengine. Now the next thing is some checks. Of course, we already have everything forward facing. We have to crack scaling and everything is in the center. So those are the things that are often quite important. And at that point, we already ready. Now, keep in mind that unreelEengine, reach your PIV point from zero, zero, zero in your scene. So it means that our PIVPoint will be on this little cross over here, and that's how we will move things around just something to keep in mind. At this point, you can go ahead and what I like to do is in our folder and expots, I like to always have a two unreal folder, and in here, we can go ahead and export this. Even though it's blockout, we are already going to export this as if it is a final file, which means that we need to name it correctly. Now for the naming, I'm lazy, so I can just go down here and copy this folder name because that's literally also the name of our model. I can then go down here and press Save. And simply press Okay. So we now have our model ready to go. I can go ahead and save my scene, and now we can open up our Unreal engine project. If you don't have an unreal engine project, I would say just go ahead and make a brand new one, for example. But I will just go ahead and import this into our existing project. Sorry, that's what I meant. Okay, so here we are in our project. Now, as you can see, everything here is still highly blockout, but you can see that we are working on a high level environment, just a large scale environment. If I zoom out. It's like it's pretty large for our team size. But anyway, over here, as you can see, many of the assets are blockouts and we can just the assets just like any other. Over here, you can also see over here, we have some blockout traffic lights. These happen to already be final. The scene is running slow. Don't worry about that. That's just because we have not gotten to optimization stages yet. But anyway, over here, I like to just often grab like a flat piece of ground. Now at this point, it is highly specific depending on the project you are in. However, most of the time your project will have an asset folder, and in that folder, you need to place your specific asset and it might be categorized in some specific way. What I like to do is I like to go in and remember, this is the name of our asset. We try to always keep the same naming throughout the entire project. This way, we can always link it everywhere. We can go over here to assets. Now, I believe, 289, I might already have an asset folder here? Oh, no, I don't. Okay, that's great. In that case, in our assets, right click New folder, paste in the name, and in here, we have a folder. Now, in here, Id am going to make a folder called textures in which we are later on going to place our textures. But in the base folder, what you can do is you can simply import your FBX that you exported. Before this. Now, it will import with default settings that are already set. However, just to quickly go through it, Build Nanite needs to be on in our case. I like to also on generate missing collision because we just want to generate some auto collision very quickly. Now if we go into advanced, we just want to make sure that combined meshes are turned on. If you don't do this, it will try to import all of these meshes individually, which is not going to be a fun time. So that's quite an important one. And for the s everything else can stay pretty basic. I can just go ahead and press Import, and now over here, I have my container. Now if we just quickly open up the container, there's very little that we need to do at the blockout stage. The only thing that I want to do is I want to add a template material. Over here, you can see that it like arts in outer material, but we have a material that we often use that is simply called gray, and we just apply that. Having it all consistent makes things just like a lot easier if we just quickly want to, like, change something. Now at this point, over here, we have a container, and you can just go in and you can, for example, drag it in to check the scale. Now, I was already pretty sure that the scale was fine. So in general, this is looking pretty good. You can imagine that, sorry, that's just source control. We will go over that a little bit later. So you can go ahead and you can imagine that over here, just having these different containers, it's going to look really, really nice. There we go, see. So we already get a sense of what it will look like inside of our blockout. So our container blockout is now done. It shows a fairly good representation of what the model is. And now what we would do is we would go over to the next step which is creating our final model. So let's go ahead and continue next chapter by creating our final model we will also be creating our final textures, and once that is done, we can go back into some more information on how feedback rounds work and on how source control works inside of Unreal engine. Source control is oh, sorry, I knocked against my microphone. Source control is basically a way for multiple artists to work on the same project without having anything overlapping. So yeah, that's going to be our focus for the next few chapters. So I hope to see you then. 9. 08 Creating Our Final Container Part1: Okay, what we're going to do now is we are going to turn our blockout that we created into our final model. Now, for this, we are going to probably get started just like with the body and then we'll take it from there. We have all of our reference ready, and in this final model, of course, we are going to make everything much more refined. This will become a blend between using TSMx and we'll also be using some zebras because I want to push the quality of these welds and stuff like that. So just something to keep in mind that we will probably be using both of those. But in general, that should be totally fine. Now, let's go ahead and just jump right in. So we're gonna get started by creating our body. I'm just getting everything set up. Give me a second. There we go. Okay, so, of course, we already have a little base over here, but this base, it was really just like the basics. I want to get started by just creating a brand new layer. I will call it container underscore, probably lp. We will probably start by creating our low pol, and then we'll just we'll turn it into high polen then go into bras to refine it even more. So doing it this way, so nice thing in Trees Max is that you can also freeze your model if you want to, like, temporarily create something without selecting the old blockout. And let's get started with the body. So with our body, most of it is pretty much fine, like it's still like a body that goes around. I can see some unevenness here, which I quite like. Also, we have over here all of these extra patrons. Now I'm going to use a little trick for those patterns, but I will do that in the hiplyi to basically add them inside of zebush can see over here that these chunks over here, they look pretty much like attached. Oh, no way, they do not look attached to the body. So that's good. If they are not attached, we can keep those separate. So that's fine. Although here they do look attached, to be honest. You know what? I'm going to attach them to the body. The reason we need to know this is because since we are going to do a bunch of welding and everything, we want to keep everything as one solid piece. Even over here, we want to try and keep things as one piece where they are welded together. Now, normally, you can go inside of sebush and use dynamesh to turn this into one piece. The reason why we don't want to do that is because then we would need to go in and we would need to create a custom low poly later on on top of this. So also, we need to do topology for a custom low poly. And I don't really want to go through all of those things. So for the rest, I can see some small details here, which we do want to have in actual geometry, but it seems like a pretty basic looking shape. Yeah. So we now know what to create. Let's just jump right in and not waste any more time. I'm going to go ahead and go to the top, and I'm going to get started by still keeping this as like a simple box. Here we go. I like to keep the box down here, square and convert it soon at a poly and we are just going to get started by following our blockout and we'll take it from there. But I do not want to use my original blockout because I want to work a little bit more on having the shapes we refined and all that kind of stuff. And for that, I want to have a clean shape. Now, something that you can also do is you can also go in here and you can go ahead and 1 second, select this and press Alt x. Or what you can do is another thing that if it makes it easier, for example, is you can also go right click on your blockout object properties, and you can set it to C through, but you can also then freeze it. This way, it's frozen in citr mode, which might be a little bit easier if you want to, like, select your model and, like, make sure that it follows your blockout. Just a little trick to show Oh, I actually don't like the tick. The reason I don't like it right now is because I actually need to be able to see what I'm doing. So I'm just going to go at and I'm going to freeze it. I only need to do this, temporarily. I later on it will, of course, not be so much needed, so now, scale this. And this one. Okay, so I want to keep the even scaling. So let's say that this is going to be our body. Now, the first thing that we need to do is we need to go ahead and create these round bits over here. Now, what you can see is that over here, there's actually what looks like that the metal is basically overlapping. It's like a little metal trim here, see. You can see it on both sides. Now, this metal trim, you can decide if you want to keep this into the low poly or into the high ply, that kind of stuff. What I want to do is I most likely do want to also keep this Do I need it in my lowly? That's the question. I guess I don't need it in my lo polly. But what I quite like is that over here, you can see that there is a little base, and then everything's kind of overlapping on top of that. And I do want to try and capture that effect. So let's get started by just a simple one. We are going to get started by actually rounding the edges. I'm just adding a chamfer, giving it enough segment so that it looks really nice and round. And I like to go for something that's a little bit more even. Let's try uh, let's see. I feel like it needs to be a bit more, so maybe, like, a rounding of 8 centimeters. Let's start with something like this. Now, as set over here on the bottom, we have this little lip that's going all the way around. So what I'm going to do is I might later on decide to make this also into the low poly, but for now, we are just going to go ahead and we are going to first of all, add this little lip over here, and we can do that by simply selecting this. Just having a look at how round it is. And then I'm going to go to my side view. I'm going to go in and detach this. So let's detach this part. And then what we can do later on this week, literally just overlap this part on top of it. So first of all, since this is going to be the base, let's go ahead and isolate it. And I'm just isolating it going down here, every three mulling so airs, like an isolation function. I'm going to select a base. And what you can also see in the base is that it has this additional shape. So it looks like that we have some nice rounded edges which we can totally make, and then we want to go in and that one is really tricky to see, actually. Okay, so here we can see like it goes down, but it also goes towards the side. Yeah, let's just improvise a little bit. It's also such a difficult spot to even see it, which means that for us, we also don't need to do too much. But what I always like to do is I always like to create my models that they can be used in every orientation. So this basically means that someone wants like to flip over our container, we can still do that kind of stuff. Now, seeing this, yeah, is fine. What I was thinking about is that when you make something around like this, it might break the ability to add additional lines, but we already broken that ability by making our edges over her around. So in terms of, the polygon count, it's also a little bit up to you on how much on how much that you want to use, I know that we will be using Nanite instead of unreal, and I want to make my models as high quality as possible because I can always use things like LODs which is level of detail, which in easier terms is like the different different optimization settings for your model, like LOD zero would be the highest quality of your model. One would be like half of the polygon count, two will be like 25%, et cetera. So it is up to you how much you want to push the quality. For me, the goal with this is to basically make the edges round enough that from a distance, you don't notice that there are polygons, see. If I look at it from a distance, it looks really nice and perfect. So that is totally fine if I go like this. You can also try to go lower, but as I go one lower, you can see that now, I can see a harsh edge, and I don't want that. So that's why I'm adding a few extras. Okay, now to make placing our edges a little bit easier, I'm going to place a cut from here to here. And also on the other side. The reason I want to do that is because when you have end guns, in pretty much every tree molding software, you are not able to add edges. When you close those edges, now you are able to add edges again. So you can see that over here, because they are engons, I can no longer loop around an entire edge. But if I would go in and I would just place a nice little cut here, and here now my edges are able to loop around. So our shape is going to be I'm going to use this one for a reference of our shape. What I notice first is, first of all, let's go to edge mode. I will need to go a little bit closer to the edges, something like this. And I need to go down and I would need to go back. Let me just see this is the front right. Yeah, okay, so this is the front. So if I go down, push it back a little bit. I want to kind of, like, stay away from wheels and stuff like that. So let's stay with something like this. And next what I'm going to do is I'm going to, this looks quite ugly. I'm going to clean it up in a bit, because I don't like really ugly looking geometry. So I'm going to place two connects over here, which are exactly even, and I can push these out. Maybe like 45, select them, and I'm just going to go ahead and use my skele tool. Now inside of trees Max, you also have something over here, which is the align tool. Oops. And then on the Y axis, you can perfectly align it. The reason I use the skele tool is because that's how you would often do it inside of Blender. So just to cover as many bases. So we have this one that's going to be extruded out, and then we would want to have this one a little bit further away, something like this. Let's see. I think a shape like that, if we extrude this now, I think that can work. So, we have something like this. Now, next thing that we're going to do is we need to just smooth everything out over here. For that, I do want to make sure that I have enough space on this side, actually. Let's select these two edges. Now, there is this annoying thing in Blender that when you select two faces, you need to go up here and you need to press plus sign, and go to scale plus sign. If you want to evenly scale them out, or you can just select them the vertices, but I'm basically going to push it back. Now I'm going to go to my sideview and just select all of these edges. And these ones over here. And then what we can do is we can go to our chen fer. Let's make this nice and large. Maybe one more. I don't know. Do I really need one more? Yeah, let's do one more just in case you want to get really up close to the bottom side. Oh, sorry, when you go into isolation mode, it loses the modifier. Okay, so now we can see that this is all nice and round. Now, one thing that I do not like is how straight this. I can see over here that there's, like, a little edge. So it's good that I notice this now. So what I'm going to do is I'm going to go to my Oops edge mode, select these two edges, and I'm going to probably push these ones in a little bit. And these ones also. I don't know what I would do with this one. I feel like this one being straight makes sense. Like, you wouldn't want to, like, angle this down. So this should probably do the trick. Now, sadly, I do need to quickly go in and just re select my edges. But I think this will look quite a bit nicer, having that extra detail. Often just things going straight down. It's also a bit boring. So whenever you can add these angled edges, they will work quite well for your silhouet S. That looks a lot better with the silhouette. 4 centimeters. Yeah, that should be fine. So let's press. Okay. Cool. Now, I just want to do a quick bit of cleanup. I'm going to place a swift loop. Oh, I can no longer do that. In that case, place a cut over here and a cut over here. Then we can get rid of this really long edge, and we can kind of clean that up. That's why I wanted to do that. So over here, having the long edge, I guess it's still needed. Oh, that's interesting that these are also cut. Basically, because we are going to go inside of brush later on, Zbrush hates end guns. They really hate it. So what you want to do is you kind of want to get rid of the end guns already so that in zebush we don't have any problems. And that's why I kind of already tend to do that. Now, in this case, I'm just going to move them in a logical location. Think in this case, actually, this is probably the best place to do it like this instead of going all the way to like other sites. Yeah, see? Yeah, that works quite well. So over here, I'm just going to go ahead and get a bit of this one also. Play it cut here. You can just skip this part if you don't want to see me looping things around and stuff like that. Let's see, for this one, because this one is a little bit more messy looking. I'm going to go ahead and get rid of all of these. But then this one is floating. So I want to go ahead and connect this. I also like to connect these bits, it looks like that there is a vertex error. Let's go ahead and select all of our vertices, weld settings, and just weld it at, like, a very low level. And now you can see that we can connect it. So sometimes they are just like these messy well points. It happens here see. Over here, it just gets a little bit confused. So if I just go ahead and first of all, because I do not like that those are engons, they are right. One, five. So those are engons. So I'm just going to go ahead and connect those And now, for some reason, this creates a double vertzi, so now I go in, weld it. And now for some reason, I can select it again. It's a weird one. Not sure if you guys will have the same problem, but in any case, as long as it's fixed, it's totally fine. So that is now done for this one. Okay, so that one was going to connect. That's totally fine. See, of course, creating the final model takes quite a bit longer, so you just want to, like, spend your time well. And even though this is just like the base, it's just better for us to really focus on getting the highest possible quality that we can get out of this. Within, of course, what we discussed about quality versus time and all that kind of stuff. However, this is just normal modeling. So at this point, temporarily, the tutorial will just be a very base well, not basic, it's still a fairly complicated asset, but it will just be a modeling tutorial. There we go. So we have our first base done. We can just leave the top open for now. We will need to close it when we go to Zebras. But what I'm going to do next is we have over here, our edges. Now, as you can see, over here, our edges are overlapping on top of it. That is something that I am going to already have in the low pol, in the low polis, that we can later on turn this into a high ply. I might remove it later on from the low ply if I feel like that, it's a little bit too over the top. But for now, it's actually quite nice if we are able to artist, and a very easy way to artist is, first of all, we need to add some additional edges. I'm going to remove the top because it makes things a bit easier. So, first of all, the edges that I need to art is, I need to have two straight edges over here, which will create that polygon line. Let's go ahead and do a connect. Let's make it two. It's going here, and I just need to grab the edges and I'm just going to scale them. I think it's just the X xs. Yeah, scale them on the X axis. And I want to move this one just after the bend. So yeah, somewhere over here is fine. I just need to make sure that the silhouette doesn't change, but that looks correct. So here, also X, so just basically make them straight. Doesn't have to be absolutely perfect, like I'm just eyeballing it mostly, but this will allow us to have a edge around here. Now, the next thing that we need to do is we need to select these two. Chafer. Set a chamfer just to zero because the nice thing about a Hafer at zero is that you can actually just simply split an edge into. So what I'm going to do is I'm going to give this like a 0.1, two or something like a very thin edge like this. And this way, we are able to select all of these pieces and turn them into actual panels. So before I do that, I need to Oh, I need to create this part on the bottom side, I forgot. But we can, for now just create this base. So let's see. Are the panels all standalone? They are. So we should be able to without affecting anything else, already extrude all of our panels. So I want to select all of the edges except for those really thin ones here. And then you want to go ahead and do an extrude, but you want to make sure to extrude on the local normal, which basically extrudes based on the edge position. And we're going to make this quite thin, maybe like 0.2, so 2 millimeters wide, and press okay, like this. Now, what you can see is over here that now it pushes down and it kind of overlaps. I quite like this detail over here. And since it is very easy to add, let's just go ahead and add that. All we need to do is just select these edges over here. And do a second double connect and just move to connect where you want that little gap to be. So if I look at this from a distance, I'm going to make it a little bit bigger just because else in three D, it will be very difficult to even see. And now over here, you want to go ahead and select this one, select only this one and leave that side out. Select this and go around Oops around. Yeah, I lost my selection. That's because when you miss click, you lose the ability to loop around. So just make sure that all the loops are correct. They are. Now, normally, you might be tempted to just move it down and extrude, but you can see that then it goes away from your metal. So instead, what you want to do is you just want to go ahead and extrude this on the local normal. And then it moves down a little bit. I think, something like this looks quite good. Now, if we go to our side view, one thing that we also need to do is, as you can see over here, it kind of flows down and it overlaps on the rest. I quite like that the fact of what I'm going to do is I'm going to start by just moving this. Going to move this down a bit. Deselects down a bit more, deselect the end edges it down a bit more. And just like that, we are just going to last one softly flow this down. Sometimes you can go in here and just like move this last one up a little bit again. There we go. Now we get that nice little f off that we have over here. That's already starting to look pretty good. We now have our panels ready. Next thing that we're going to do for these panels because remember this is just low poly. We are first going to create the base over here for our wheels, and after that, we are going to create these little lips over here because I want to keep those in our low poly. These ones it's a tricky one. So this one might be best to have in our low poly because we need to actually weld this on here. If we have this in our norm map and there's no height there, it will feel off, so to speak. So probably this one, these little bits, I am not sure about this one down here. We'll have a think about it. But all of these panels over here, they can actually be just in our hypol. We can just bake them down into a norm map. So let's go ahead and endings here for this chapter, and let's continue to next chapter where we will start by creating these brackets over here for our wheels. 10. 09 Creating Our Final Container Part2: Okay, so let's go ahead and continue. And we were going to start by just creating these base panels. Like, the things like you can kind of, like, see like it goes under it, but then if we went to this one, you can actually see like it's kind of attached a little bit. Now, this is up to us how do we want to attach it? Because if we are going to actually attach this to the mesh, it will be quite a bit more work, especially with this type of geometry compared to when we do not do that. 1 second. Let me just isolate it. There we go. Compared to when we would not attach it to the mesh. However, I don't think there's a lot of space to actually have under here. So I will just have a think about it. In any case, the first thing that we need to do is we need to figure out what it actually looks like. There sadly isn't a lot of reference. I can see here over here, there's actually two panels, and I quite like this one. See, this one is actually linked to the other mesh. That's pretty good. We can definitely work with something like that. So let's go for that design here, see? Like this design. So it looks like we have one panel that's linked over here and one panel that's linked around the top. Yeah, that makes sense. Okay. Let's try that out. I'm going to get started by probably well, first of all, let's isolate only our bottom view. Go to, like, our site view over here. And let's see. So inside of Trees Max, I actually often use spines or lines for more difficult shapes like this one, for example. So what I'm going to do is I'm going to go ahead and just use a line, and you can still use original poly gun modeling if you want. But what I'm going to try and do, let's say, let's see, let's try to have a shape that basically hits the side over here. And then it goes around here, and then it needs to kind of go straight and end here. Like this will look very ugly in the beginning. Don't worry about it. We are first going to now right click. And if you do a Bezier corner on this, what it allows you to do is it allows you to edit these corners separately so that they don't interact or do anything weird with each other. So I'm going to go in and first of all, I need to, like, stir off my snapping. I need to make sure that this one is straight. So we kind of need to end it straight. I can then use my scale tool to kind of, like, rotate this around also scale this one down. Like this and make this one also straight. Now the scaling might, of course, still be a little bit off, but we're working on it. Let's have a look at our blockout. So our blockout is somewhere along there. It does mean that now that we have this, we need to alter this design a little bit, but that's fine. I guess, in general, just need to maybe add a sweep modifier, set the sweep modifier to a bar. It doesn't have to be perfect yet, but I need to see the scale. So from a distance, I basically need to be able to be like, Okay, that seems like a strong enough scale to actually be able to hold something as heavy as these wheels over here. In general, I think if we actually make this a bit bigger, that should work. Knowing that we can now, for example, turn off the blockout, go back to my edges and faces over here, and we can get started with this one. First of all, we want to move this. I'm going to make the thickness quite thin, maybe 0.2. The length of it should be quite large, maybe 8 centimeters or ten. Often, you just need to spend a little bit more time to actually, eyeball it and just make sure that it is correct. Okay, something like this. Now I can also see that we have some issues over here with our actual line. So what you can do is you can just select your line and just turn on the show end results. Yeah, yeah, see, there's some messiness going on. I'm going to actually delete that line because I feel like it's a little bit too messy. Now, the first thing I want to do is I just want to go into my side view, and I'm going to see if I can make this a little bit nicer looking because right now it just doesn't flow over as well. How's something like that? Mm. I feel like this bit over here. We just want to use a scale tool. I feel like it's supposed to be a little bit more round. Yeah, I think something like that should work. Now what I can do over here with this one is I can just go in and first of all, I want to scale or move this one completely here. And then you can always add an insert and you can actually add an extra line inserted. Now, I have no idea what's going on here. It's Willy Buggy. I'm just going to not do that because I can literally just add an added pole on top of this. I like to add it I like to add an added poly on top instead of converting it to an added ply. In MX, it's nice because we can keep these modifier stacks in order to still keep everything non destructive. Like we can still go back into the line later on if needed. But for now, added poly is the same as ddipPol. I can literally just go in here, just move this down like this, place it somewhat in location, and that's it. Of course, there will be some welding going on over here. However, it will be less prominent because if we want to do proper proper welding, we would need to make this mesh attached to this mesh, which in real life is quite easy because you would just throw some metal in between. But in really it's actually quite a pain to do something like that. So for now, we have this shape over here. We're going to go ahead and refine it a little bit later on, but I want to now get started by first of all, grabbing another line, moving it down here. And then this line is a lot easier because all that we need to do is we need to add a simple just square box like this. And then if you go into your Vertex mode, you can use to fill a tool to make this nice round, like you can see over here. At that point, another good trick why we keep this non destructive is that now we can go in. We can just right click and copy our sweep, select this line, right click and get the exact same sweep modifier. Now you can see that it's clipping in here. You can scroll down and over here, you can change the pivot point positions. Doing that allows you to basically move the pivot point down so that it is not clipping anymore, something like this. And then it's just a matter of aligning this up going into a line and moving, for example, these ones down a bit. And then it's all about deciding how large we want this to be. So we look at our blockout Yeah, maybe if we just select one site and just scale this out a little bit more's turn over blockout. I think in general, that works quite well. Of course, we will have some little bolts later on, but I'm not going to worry about that right now. Okay, so these meshes are now connected. That's pretty good. I am planning to do some welding in between here. Knowing that what I want to do at this point is I'm going to move this probably somewhere here. And then what we can do is we can do some really cool welding in here. I'm just double checking because at this point, I am going to destroy the mesh a little bit. But that should be fine. Let's first of all, place a swift loop over here. And what we're going to do is we are going to actually combine these two pieces. So combining them will make it that we can add some pretty good welding to this. So we have a swift loop here and another swift loop here. I can at this point, just right click, convert to addi pool. Let's delete these two bottom phases. So now this phase is gone. And this phase is also gone. And at this point in the d popol you can just attach this model, and then it's just a matter of collapsing these edges so that it becomes one. What I then will do in order to create a seam is inside of a Z brush, I can actually, add some small welding around here, which will showcase as if there's a seam between these two models. And because we will also do the welding here, it will look really nice later on. So we have this funky looking shape, but that should be quite all white. It's a little bit longer. Or lower, I would say than we have in real life. But I think for now, this should work quite well. I now want to go in. I'm going to go ahead and get rid of these two edges over here. I'm going to grab these corners and these corners and give those some roundness. As much as I can, pretty much. Something like that. I know it creates some angrons but don't really worry about that. Now there's actually also some roundness going on over here, but because we just merge this together, it might not work as well. Ah. Yeah, you know what, that's not actually that bad. Yeah, so let's add some roundness here. Over here, we now have these two vertices that are really close together. So I just like to go in and merge them. It is a really quick function. The annoying thing is that when you need to explain something, even the quickest functions, they are going to take a few seconds. So there will be a point when the further we go into this model, the less I will start explaining. L over here, I'm not explaining why I'm connecting these two vertices and stuff like that. But for now, this should be fine. I know it has a lot of endgons. Don't worry. We will fix that later on. For now we are just going to work on the general shape of things. So we have our mesh over here. Initially, I thought it was going to be attached to this, but as it is right now, this will basically become part of the actual wheel, which means that for now, I just want to end it here. I don't want to actually start working on the wheel yet because I want to focus first on the large body over here. So the next thing that we're going to do is we're going to first of all, get started by just adding some loops to get all of these pieces. You can see over here there's, like, a little lip that sticks out of it. It's a bit tricky to see if I can Like in these, oh, yeah, okay, here, I can kind of see that it goes all the way around. In these moments, I really wish that I spend more time, like, taking better pictures. But let's just assume that it goes all the way around, and let's start with that. So here we have a mesh. Now at the top, This one might Will this one? Yeah, it has to go all the way around, but there might be like, this interruption here. Yeah, that should be fine. Let's select these edges and add a connect. And let's push this connect up to, like, is it 99 good? I think I want to probably go to 98, and then I'm going to make it a little bit thinner. So okay, we have this. Now, I don't want to have the lip actually sitting over here, so I basically want to interrupt it. So let's just go ahead and select this one. This one, this one and this one over here. So I'm just sometimes looking at my reference. So when you hear me pass, it's just me looking at reference, double checking before I do the next function. Now we have this, let's say, 1 centimeter out. We need to keep in mind that we still need to bevel it. So I'm actually going to go for 1.5. So a little bit further because then when I bevel it, it will look a little bit smaller. So we have something like this. Now let's go in, and a Coltrik is this mostly inside of Tres Max, if you have your faces selected, you can hold Shift, click on the edges, and that way you can kind of convert your face selection to edge selection so that saves us a little bit of time. I think this one deserves more edges because it's so round. You can probably get away with one just to push it because we might have this open and you might want to look inside of it. I'm going to add two segments over here to make it extra round. Move the bit in a bit more. Press Okay. And then I'm just going to select one of these cent lines because they are so close together that we don't need them. So select them control back space, in this case, basically remove only the edge, nothing else. Yeah, that looks. Correct. Okay. So the next one that we need to do is you can see that over here, it has a fall off. For this, most likely a bevel would be fine and else we can do some manual placement. So let's go in here, hemFO. This time, I'm going to give it, probably only one edge, we'll just make it square. Hmm. Yeah, let's make this quite a soft fall off. We can see that over here we are now getting some messiness going on with our edges. What I like to do is let's just select everything, weld it at like a very low level. Looks like we got rid of eight vertices. And also, if your smoothening starts to break, simply inside of tresmx you can use a smooth and then outer smooth. Oh, you can see here that it is still broken. And inside of blender, there's also outer smooth. Since it is still broken, I need to double check because it just means that probably some of these vertss over have gone a little bit crazy. I think it has to do with this part over here where it's trying to, like, connect some stuff together. See, if I weld this and this. And what might also resolve things, which we need to do anyway, is we need to create the inside. So over here, I'm just selecting this inside edge because we are basically going to create the actual inside also. I don't know if there's anything looks like the inside also just has a lip. So what I can do is I can go in and I assume I can do an extrude. That's a shame. But by the way, with the extrot, you can also see that's broken. Sometimes an extrude can go like the inwards, I should say that. But it doesn't always work. There is a way that you can fix it, but it's often easier if we just go ahead and just simply hold shift and scale it in to extrude this. So we are at 97. So now I need to go in here and also need to set this to 97. I'm reading it down from the bottom. Come on. 96 98, 96. Well, that's awkward. Actually, 98, Just double check. Yeah, let's start with 98. Let's deselect. Oops. Select this. Deselect some edges, and I'm just going to manually move this back a little bit because it's really close to it, but it's a little bit confused on what to do. And that's mostly because we have, like, a little bug over here in these etches, which we need to Resolve in a bit. Okay, cool. So let's have a look over here and see how we can resolve this. Let's go in and delete. I need to be a bit careful, so I want to make sure that I do. Let's delete these edges because these are the edges that are causing some issue. Now, over here, if we then go in and play some manual cuts can I just go in and remove this Control Backspace? Yes. It's a little bit of an awkward position. You can, of course, hide faces also inside of Trismex. But often here, if I just now connect this one over here and here. Do the same over here. Then what I can do is I can basically use the bridge tool. Over here, I have a loose vertice, which I also want to get rid of. I'm using my target weld, basically just something to weld vertices together. Actually, let's keep this even. Let's do it here. And then my hope is that we can now select this side. D select the top and the bottom, and then press bridge. And that will basically bridge it, but next to the bridge it will also connect it. Now I can see over here. Yeah, that should do. If we now do smooth out a smooth, it's still causing problems. That is really interesting. Like, you can do prevent indirect smoothing for now. However, I'm quite curious about that, but I don't see over here, it's still causing proms. So that's something that we do need to fix. However, I don't see a reason why it would have some strange smoothing. Maybe it's just a little bit confused. One thing that you can also always do is you can always just go in, reset X form and reset selected, and that will basically just refresh your model. It will reset all of your transforms and all of your settings. Now, smooth out of smooth. Okay, fair enough. That is very strange. It's something I will look into. For now, I will pass the video, and I will just like off camera quickly fix these pass over here because that's a little bit time consuming. So let me just pass the video until that's Okay, so that's now done. It's not perfect yet, but like I said, for now, it is totally fine. Let's see. We end up with this mesh over here. So what I'm going to do for now is I'm just going to push this in like this. Then what I want to do is I want to extrude this in. Now, it's a little bit awkward often, but let's see if we can use our extrude tool, looks like we are a lock because extrutols can also go inward. Because it's an awkward angle, I'm just going to press Alt X to go to X ray mode, and I'm just going to have a look. I want to end it just before the end because else we might get some issues and stuff like that. For now, let's just go ahead and push this up until, let's say, this point, and we will get back to this later on when we actually finish the outside. So I'm just going to scale, actually, not scale. Let's move this a little bit in like this, probably. Now, let's end things off by also making this edge over here a little bit. Around. Let's see, 1 second. I feel like there's a slope going on. Oh, no, so it's just optical illusion because of the sights, I think. Yeah, it's just a little bit of, like, optical illusion type thing. So let's select the etches around here, if I can mention select. Give it some roundness. Now, OVA you can see that we have some arrows. Sometimes these arrows can be resolved quite easily by just changing the type to triangle in our curvature. And here you can see that now it's a little bit rounder and stuff like that. I think that looks fine. Let's just double click again and just remove one of the edges over here. And for now, I think that is like a pretty solid base. Also, quickly, just like, do a smooth. And I'm just going to prevent threshold. And I will fix the smoothing a little bit later on. So, okay, we have that ready to go. Now, let's have a look what is the next step. The next step was going to be to add these side panels and to add these little extra details over here. Yeah, I think that's pretty much it. So let's go ahead and move on to that. Just going to isolate this once again. For the side panels. I feel like that this panel is on the same height as this stuff over here. So we can just like Art and loop around. Probably, I think probably around here, this height is pretty good. Now, I'm going to probably get started with the small edges or edges, the small things and then take it from there. They do have a fall off. So maybe if we use the bevel modifier, we can because basically the tricky thing is they have a off, but they also they fade in. That's the tricky thing. To make something on a curve, fade in smoothly while also having a falloff. That's like a bunch of stuff. On top of each other. And I'm not really in the mood to work with symmetry because, well, we can use symmetry if we really want to, but shoot we do that. Yeah, okay. Let's probably use symmetry. The reason why symmetry is easy is if you, for example, center your pivot exactly, and then add the symmetry modifier to the I don't know which one it is, let's see. Oh, yeah, we need to flip the symmetry around. Here you see? At least then we can just do similar editing at the same time. But anyway, for now, let's not do symmetry because we are still going to just create this site. We have this loop around here. Well, I'm going to I'm going to move it a little bit closer. Something here. And then for the fall of loop, let's go for something a bit white like this. And we just have selected this edge, if I just go to bevel and then if I just push this in over here. I guess we will have to go for a local normal. I was hoping not to use local normals that we can kind of, like, push things out. But I'm not sure if we can actually do that. There might be a way to do it. We might be able to just do an extrude. Sorry, not that one, hold shift and extrude, like this to kind push it out a little bit. Here we go. Now we do get that fall off effect. But then what we need to do is we do need to also bevel this. Now, we might be able to force it by holding Shift and selecting our edges. And if we then select everything except for this end edge, chem for it. And just like Chen Fritz 100%, something like or not. Maybe cha for it like this. So my ideas, basically we chem for it like this. We then go into our vertex mode, which for some reason, vertices are not visible. Give me 1 second. Okay, wed was bag. I just right click and convert it again to add a poli and now it seems to work. What I basically wanted to do is I wanted to do some manual merging and see if that works. So I would, for example, merge these vertss over here together like this so that it becomes one long edge. So it's a large model. Sometimes working with Willie Small stuff on a large model, it means that your camera gets messed up. What I often do is I simply select avertZ and then press Z to zoom in, and that often tends to work. But anyway, so my idea was to basically weld this altogether and then add another bevel on these lines to make it feel more solid with our mesh. But yeah, it's definitely a weird one. It's not something you get with most average models. So we definitely took a tiny bit of a challenge here. So we have something like this. Now the next thing would be to, for example, select this site and also over here and to then do one more bevel. Like I see overas some messiness. I think that is because we have some vertices that are double. So let's just do a quick, simple weld just in case also connect here and here. Let's see if that works. Ham fa. There we go. See, now it works. And just like a single Jam fa should be fine. Yeah, see just makes I mean, does it make everything? Yeah, yeah, yeah here. So it does like float things over a bit better. So that's good. I'm going to set this probably to 0.2. And then what I also want to do is I want to go in here, and I want to make this a little bit bigger because I feel like it's not big enough now compared to our reference. And maybe over here on the end, give this an extra smooth bevel like this. It's got in turnover edge and face. Yeah, I think that works quite well. Just ignore the smoothing for now. We will work on that later on. So that is working quite well. So that is one. Is it pushed out too far? No, it's not. I think. Yeah. That looks fine. Like over here, it looks about the same. I guess over here, it just feels less strong. But should do the twig. Okay, awesome. So we have done that one. Now, there's also a quick one in the center. However, as I said, symmetry, so we'll work on that a little bit later. Let's first of all, focus on this one over here, which seems pretty straightforward. We have one edge up here, and we just want to create another edge probably somewhere down here. You can see that over here, the polygon flow is broken, but that's just because of these pieces. I'm just going to quickly ter cononnect here because I do want to keep this stuff often even. So we have this one. I'm going to go ahead and I'm going to inset it a little bit more. This way we have some extra space. And then what I'm going to do just to give enough room for our bevels, I'm going to merge this together so that it basically becomes one solid piece. Yeah, I wonder. You can probably just do this. Yeah, if you merge these together here, we can instantly get rid of this edge. And if we merge those there, we can also get rid of this entire edge all the way around here. And then all that we need to do is over here, we need to, like, see, let's merge this one down here, connect this one down here. Yeah, that should do the trick. Okay, cool. So we have this one. Now with this one, what I'm going to do is I am going to use the bevel modifier this time. So you can see that we just have a bevel, which is easy because it just allows us to kind of, like, push things in and out. Let's say 1 centimeter. Yeah, I feel like 1 centimeter should be fine. Maybe a little bit less. It's to 0.8. 0.5. I think something like that will work. Okay. And then what we're going to do is we are going to select these ends over here. And probably let's say de select these really small edges here. Give it a quick chamfer, make it nicer around. And then what I want to do is, I wanted to add one additional bevel on this side and on this side. Before I can do that, I first need to just do some quick connecting. You can see over here that it's not completely connected, so just quickly connect that furs and then connect these There we go. So let's select this face, convert this to edges, double click and select the edge around it, and we are just going to give this a nice single bevel. So 0.1. There we go. Okay, so we have this piece. We have this piece. Is there anything else before we are going to do our symmetry? Like, we have this one, but this one I probably want to go in and do after symmetry. Well, we have this piece, which we are also going to, like, attach to the actual model, most likely. Yeah, over here, we will most likely need to attach it to the actual model. So I might want to wait with symmetry until I've done that. And to be honest, this one is also going to be attached to the model. The reason I'm going to attach this also is because the welds are so prominent. I want to just make sure that they look like, cool. So, hmm. Interesting. I think what we're going to do is we are going to end the chapter here, and we will go ahead and start working on finalizing our body in the next chapter. Yeah, that's a plan. Let's go ahead and continue with that in the next chapter. 11. 10 Creating Our Final Container Part3: Okay, so let's go ahead and continue with our model. So we don't have a lot yet, but what we have is already pretty solid. So we are now going to get started, and I wanted to probably first start by working on this one just because it's an annoying piece, and then this piece, this is just a simple spine. There are some interesting stuff over here where the spine is kind of like compressed down, so that's something that we can create. But let's get started with this. Now, naturally, what we would do is we would first of all, create, just a general piece. It looks like it's a solid chunk of metal. Most likely, what will happen with this, and it kind of depends how much quality you want to give it. I want to give it quite a bit of quality, but what it will do is it will most likely like the metal loops around here, goes around here, and then on the other side, it probably also loops around. So the inside is hollow, and then it basically adds like this additional piece on top, and this piece will be attached to our actual mesh. Now, knowing that, I do quite like also having this welding over here. So what we might need to do just for the sake of Tri D, we might want to actually just, like, merge this together because this type of welding, it's really difficult to do unless our meshes are merged together. So let's just get started with something simple. We are going to go to our side have a look at the blockout. So our blockout is like this. I don't think I need to really follow the blockout in this case. But there's definitely one where we need to just play around with things and get a feel for it. I'm going to get started by creating a line, and we start just below it and then go around here and then loop around here. Now, if I want to have the inside, I most likely will just connect this edge from here up until just before the other bend. And basically I'm going to just connect those edges together, and everything else will still say separate. The only tricky thing is that I need to see how sebush responds with that, but if it becomes a problem, we'll figure it out later on. So let's see, just below here. 1 second. I don't have the correct reference. Just below here. You can hold shift to make your line straight. So we start over here. It's hard because there's no frame of reference, to be honest. I will go down here and then I'm going to, like, Loop it around something like this. Yeah, it is annoying when you have almost no frame of reference. Is there anything I can do for scaling? I guess over here, I can see the scaling a little bit better. So let's go back to my side view. So first of all, this one goes down a bit. It hits from over here to the bottom side of this, which means I need to. Sometimes what you can also do is you can also use lines and just literally grab the line and just hold shift. Here you'll see, and it makes it quite a bit easier to just read everything. So okay, let's see. It sticks out not too far. It then scrolls down. I guess we cannot really hit the bottom side because that would be a little bit too large, but we'll see. This one pushes out this one pushes down, and then over here, let's right click and just do a Bzier corner in here and then rotate this that it kind of like you see becomes a little bit more smooth. And I do not want this to be round. I want this to actually have this off shape where it kind of just ends. Let's start with this. Let's do a sweep modifier and make it large, and then we can basically scale it up depending on what we want. Ah. Start with something like this. Let's have a look that if we would make this this large turn over edged faces, maybe add a very quick smooth modifier to this. Yeah, here, see, it doesn't feel large enough. I feel like what we want to do is we actually just want to scale up the entire thing. But then when we scale things up, we do need to go and push this back in. Yeah, that feels a little bit more logical. Okay, so that looks pretty good. So now let's just go ahead and refine things a bit, say, let's I'm moving my line down here. In terms of the thickness, I guess this is the thickness that you want to keep in mind because this is just going to be a piece that we basically weld on top. Like we will just stick it on there and as like a separate piece, and then we're just going to merge all of the edges together. At those points, it would be really easy to do it in dynamesh, but like I said, retpology will still take longer than for us just merging those few pieces manually. Let's go into our Sweet modifier. Let's make the width so quite a bit thinner. 0.20 0.2 seems about fine. Yes, that seems about fine. Now, at this point, if you want, you can already use your line to basically add some bevels and stuff like that. So I'm going to add a simple bevel, so just a chamfer over here, over here, and over here. And then later on that will look a lot more smooth when we actually have our normal baking. This one, I'm going to I quite like that it's a little bit pinched down. So maybe we can actually here C. But then again, like in Tree D, that might look like an arrow. That's the tricky thing. Even though it is like that in real life, ITD, it might look like an arrow. So I want to probably for now keep this non destructive until we know what we're going to do. So yeah, let's start with something like this. Now what I'm going to do is I'm just going to go ahead and add another line. And this line, I'm going to probably move it over here. And this line will very closely follow our mesh. So I'm just already adding, like, all of these bevels. Up until let's say this point, and then it just continues down here. And at that point, what we will do is we will go in and we will extrude this manually so that it properly fits. So let's get started. First of all, let's turn on edge and faces by moving this in the correct position. And this position is going to be Can I go to my front view? Roughly just on the edge, and then it will be connected. We might need to move it a little bit more later on, but for now, let's just go ahead and and add a poly and also do it over here on this side. And then we can mirror it later on. This is probably the site that I now will switch over. Here, see. Okay, this one is a bit out of focus, but yeah, definitely, you can see it has a little edge around it. So let's start with something like this. Where is my Here is it? I'm going to go ahead and I'm going to this time use just a normal extrude modifier. When your splines are closed and use a normal extrude modifier, it will literally just extrude like this. Now for this one, 0.2 feels a bit thin. So let's 0.3, maybe even 0.4. Yeah, let's make this like nice and tick, 0.4. So we are going to have this one over here. Using my lines move this into a fairly logical position. Something like that. And the general goal for this, if I just add and add a poly is that it goes inside and then it is welded on here. So knowing that, I'm just going to pretty much extrude this out a bit more. Pushes in like this, and this is where it will get fairly welded. Now, in here, you can see that the actual metal is also dented in, in this case, I'm going to go ahead and have a think about that. Do I want to also have that metal dented in? I might want to move this then probably up until this point. Yeah, we can do that. We can have the metal dented in. Just add a swift loop here, and then one above, here, and then one below, another one here. And now we should be able to grab these pieces. Maybe rotate them a little bit, and use this to dent things in a bit better. Then we grab this one And we just, like, kind of deform it because everything of this, like, it feels really messy and organic, like it feels like they just kind of, like, hammered it into place almost. It's not like, super refined, but I guess that's what you can expect from a trash can. So let's do this. Now add some chem fos here. There we go to make this nice round. Over here, we will have a double edge, so let's just remove one. Let's see. We have now this mesh that goes around here. I will also make it On the way, we want to merge this in here. Yes, we want to merge this as one piece, which means that I will have to wait turning this into an actual mesh. We are going to merge it probably up until like this point, at which point it just becomes a normal mesh, which means that over here, these three, we can just go ahead and deletes and then we're going to basically merge it together. But first of all, I want to merge it to this point. Let's just double check. Did I forget something? I know that over here, it's bulging out a little bit. Not sure if that's something that we should do. We can have a go in it. If we just quickly, first of all, what I need to do is I need to clean up this stuff over here. So I'm just having a think here. Gonna start with like a simple connect and move this connect down here, push this in. And let's see if we would, for example, bulge this out like this, and we would then go in and we would then add like a bunch of connects. Bull that look nice. I feel like that does look pretty good. So knowing that, I'm not going to do it right now because it's easier for me to connect to this piece when it's as low ply as possible. So that's going to be now the first focus. We are going to connect some pieces. I'm going to select these sites and delete them. And then over here, we're going to go in and place the same connect. I'm just going to also get rid of this one. At this point, what I'm going to do is I'm actually going to go in and I'm going to just make this a lot smaller over here because that makes it a lot more manageable. So let's see. I will connect it up until this point. So let's place a loop here, and then the rest will basically just become geometry. I would probably want to go in and select this. And just to make sure that it's not like accidentally causing problems later on, I'm going to move this a little bit like this so that it's like a little bit away. So when we connect things, we won't get any messiness going on over there. Now, next thing that we need to do is we have over here on the inside, we would need to kind of merge this down until we hit the other side. So first of all, isolate this delete this because I feel like if we have a low angle, we can still see the inside. That's why I want to keep the inside there, but that means that over here, we need to do is if we just isolate these two, we need to go in Hopefully, I can use a normal extrude. Yes, nice. So we need to go in. We need to extrude these phases in. And once that is done, we need to add one tiny additional extrusion. The reason we need to do that. Ah, that's annoying. That doesn't work. Basically, the reason we need to do that is because we need to merge ertzes together. But of course, we cannot merge verts together until this is all looped in. Let's do it this way because this is actually a little bit annoying. Let's just undo this. Instead, add a swift loop here and a swift loop here. And we are just going to start by combining measures. So we select one, attach the other side. And basically just want to go in and or use target belt like this. Or just find ways to combine these etches, you can use collapse, for example. The goal is basically to make this one model, but only make it one model specific site. You need to be very careful doing this type of stuff. This is one of the easiest way to accidentally break your model and have a lot of trouble later on. There are faster ways. Like what you can do is you can, for example, add a bevel that's just clipping in here, but it will not be as high quality when we want to do any sculpting. So what you would do is like you would just have this model hover on top of this and then just extrude out a bevel and just clip that bevel inside of the rest. A bit like just doing this. Oh, a bit like just doing this over here, see? And then it will kind of just merge in here. But we don't want to do that. We are going to go for high quality, since this feels a bit like a hero asset. So with those connected, we should be able to now select the border select and cap the ply. Now we definitely need to now go in and we need to make some proper connections. That one didn't work, I guess, over here. That one's having a bit of trouble connecting properly. There we go. Okay, cool. So we have this on the inside. On the inside, I don't really need a bevel, most likely. Although, for the weight normals that would work, like on the outside, you do need a bevel. Yeah, let's create like a very small bevel just in case, let's go in here, ham for it. And just create a bevel over here. Down here, what you want to do is just kind of like want to merge your stuff together so that it like welds better. M but definitely awkward position to be working on things. This one is also a bit more tricky. Let's smooth this up. Well this, weld this, weld this. And this one. Well, that gets rid of the On no way, that's fine. Yeah, yeah, it does get rid of the bevel. So those two, I need to keep. In that case, I'm just going to place a cut over here. Excuse me, a cut over here. There we go. And flatten this one out. There we go. That should do the trick. For now, let's go ahead and select everything and just also do a quick weld on a very low level to make sure that we don't have any leftover vertices. So these are now welded together. It might not seem like it, but it is one solid piece at this point, which means at that point that we also need to attach it over here. However, later on we also need to add some bevels to this. For now, what I will do I will go in here. I would like to Let's see. I'm just checking. I would like to weld this probably here so that we can get rid of this loop because that loop will just be in the And now we can attach these two pieces over here and keep it that way. I'm going to go in move this out. And probably somewhere along this line is where we will actually attach the tip later on also. Something that we still need to create, but for now, just something to keep in mind. So, okay, for these pieces. Now, to weld it. Something that you need to keep in mind is that sometimes we want to keep things a little bit more flexible. In those instances, 1 second, if you want to weld things, you can also use your snapping function. It means that we are not actually welding things together, but on the very end, we would like weldings together. If you go up here to snapping and right click, you have a bunch of settings. You basically want to snap to vertex, and then you can imagine that if you already snap it like this, and, for example, this one like this, it would technically already be the same as when it would be welded. Now I can see over here that that is actually not a good point for snapping, but I hope that you can understand here, the concept behind it. We would like place another loop here. And that's why when we are editing this on the other site and everything like that or like adding bevels here, we might have a bit more flexibility. I just wanted to show you that. I'm actually probably not going to use the technique because I feel like I just don't need it, but it's something that I just wanted to show you. That's all. What I'm going to do instead, is I'm just going to attach this piece. Turn off my snapping. I'm just trying to use set to zoom in, but it's really annoying because it's a small piece at a very large model now. It's actually really annoying. Wow. It's completely broken. Let's reset our X for. See now. It's not perfect, but OL, we are just going to get started with the welding. We are going to collapse these pieces. I can see that on the inside, I need to get rid of these faces over here. And now collapse. If you want to make sure that something is welded, you can press seven to go over here to your polygon view, if you press E plus and configure view pots, statistics, and just turn on triangle count and total plus selection. Now what it will do is it will show you how many vertices you have selected. You can see here I have selected two, and if I press collapse, it becomes one. That's just again a nice thing to keep in mind. At these points, I most likely actually want to bridge them. Like these two over here, I feel like if I bridge those and I probably want to add one extra loop here. If I weld these together, and then over here, let's merge this down here. We can do like a Caple. So Caple just adds one polygon, like that. So this is all bridge together that goes down there. And then over here, we would weld this one, this one, and this one. This one would be welded here, and then we can do another Caple like this. Okay, so for the bare basics, that's now all welded together, so that's looking pretty good. It goes down here. We will, of course, clean this up later on. Don't get me wrong. We're still not done with it. I just want to check if this side now is pretty much ready to go, and it feels like it is. So the next step would be that now over here, we are going to create one additional weld we basically push this until the center, and then later on we will symmetry it. So that means that basically what I want to do, and again, a cool trick is that often selecting stuff by angle is really easy. Max, you go over here. In Blendel you have the same function and in Maya also. But if you just press Select by angle, ignore back facing and set the angle to five, it will just select flat angles like this. We can then move this. Oh, wait, sorry, I'm doing something wrong. We need to move it first of all, here to where we want to start the welding and then extrude this and just extrude this beyond the center point. Then when we do asymmetry, it will just kind connect. Now the next stop is going to be that first of all, we need to select turn off select by angle. The awkward point is that I need to select this inside Edge. Select delete. There we go. And then I want to have a connection here and here. I guess if I just go to Edge select, select one connect and then use my bottom slider to move this connect around until it is here, that will most likely be the easiest way. Let's do it 99 because it's small. And now, of course, we need to make sure that we don't accidentally select that point also. And another one So like long here. Then so this point we'll go here. This point will go here. Next, we are going to loop two loops around here. And then over here, it becomes a little bit awkward. But what you can do is you can use your cut tool to actually connect these points. Oh, wow. There's a lot of messiness going on here. Let me just quickly weld this stuff together because I don't like it when it looks this messy. Did not realize it was this bad. Again, cat two, and I'm just going to merge it down there. We then end up with also one phase on this side. And you probably guess it at this point, we can go in and we can just, like, target belt these two together. And these two. There we go. So now this becomes a weld, at which point that we can go in and we can actually give the bevel, which is very important because whenever you want to do some welding, like you can see over here, you want to bevel it. If you don't bevel it, it will still look harsh, and then you can just as well not have it all connected as one point. The whole point of connecting it is to place a bevel in between, which will look really nice when we start actually painting stuff on. Like it will flow over really well. And then over here, it becomes like a little bit awkward, but just do some merging together. Yeah, that's why I don't like working with in these type of welds, but I feel like there isn't really a different way. So definitely it's something that we need to clean up on a low ply a lot more later on. But first of all, we are still focusing on the main shape. So for now, this should be fine. So we now have our main shape over here done. We still have this little thing at the top, but I'm just having a Did I forget something? Oh, yeah, we need to now add a connect here's flatten out to connect. Now we need to push this out and then Ara Chamfer. Like this. Oh, 1 second because I'm not pushing it out the correct way. And the reason I'm not doing that is because these pieces would need to be merged all the way down here. It collapses. There we go. And now that works a little bit better not perfect, but better. Double checking that I have everything selected. There we go. See. Now we af this out. Looks like that setting it on triangle works a little bit better. Is this not too bent? No, I think that looks actually quite fine. Okay, cool. So we now have the bend done, and then the next thing that we need to do, it does feel like this one feels a bit thinner, but I don't know if it's just like, here, see it actually feels fine. I think it's just because we've been looking at it from Wy upclose. The next thing that we need to do is we need to bevel all of this stuff to make sure that it's like properly flowing over. It's probably also the most annoying one, but let's start by just selecting this and holding Shift and converting it to our edges And then if we just go ahead and start by doing a simple chamfer. Over here. Now, in here, I do really want to bevel this because if we don't bevel this, like I said before, the welding will not look good. The only thing that is a bit tricky is I don't know if I can just do this. I feel like doing this might look better, and also it will save some polygon count and all that stuff. Not that's w of my concern. But if I bevel this over here, I feel like that should work a bit better. But then what I do want to do is I want to grab these and I want to probably make these bevels a little bit larger so that when we actually, add the welding and stuff, this will all have enough space. Let's flow this one in normally. Like that. So we'll, like, weld this together. Yeah, that should work, and then over here, it will just transition. Might look really weird and awkward right now. Honestly, don't worry about it. I will be resolved later on. I am going to add one extra bevel here. And then for those, we want to connect this to make it a bit softer. But even now, as you can see over here, when we actually smooth this, here, if we set smooth into one, you can see that it already merges together and flows over quite a bit better. It might not look nice, but when we actually have our normal map on top of this, that's when things will start to look a lot better. Over here, I just need to do some general cleanup. Merge this one, merge this one. Okay. And these. Because before we start, let's do this one over here. Because before we start doing all the mirroring later on, we want to make sure that all of this stuff is already done and that we don't have to go in and do even more stuff. On the back, we will most likely just have some very simple panels because you can see that there's nothing really on the back. So that is fine. We need to still do this side. I'm just double checking if we missed anything. No, I want to do that after the symmetry. Is the inside still correct? Yes. Okay. Wow, we already spent 30 minutes on this. I do apologize for that. Sometimes things just go by really fast. Here we go, I'll do it like this that you guys can kind read the model a bit better. So we have done that stuff right now. This means that in the next chapter, what we'll do is we will probably work on actually having these bars. Once that is done, we are going to do a cleaner pass and then we are going to finally symmetry it. And at that point, the actual lopoli of this body should be done. All of these other panels will be in our actual normal map. So for now, let's go ahead and focus on that in the next chapter. 12. 11 Creating Our Final Container Part4: Okay, so let's go ahead and continue. Off camera, I, of course, just quickly review the model and see where we are right now. It is something that's quite difficult to do when I'm also need to talk in the tutorial and all that kind of stuff. So we will be creating this bar. And then what I want to do is I want to just go ahead and I want to add weight normal support because I feel like we've been lacking on that front, and I want to really push the quality of this model, and adding weight normals will not only fix all of our smoothing problems and also make the bake look better, but it will also add some additional quality to the model even when it doesn't have a normal map. So knowing that, first things first, create this art weight, normal support, symmetry, add the centre dot, and at that point, add some general variation like over here to see some bumps and stuff like that. And then this model should be pretty much ready to go for the lowly. For the hypoly we still need to do a lot of stuff, but for the lowly. So that's the general idea. Now, let's go ahead and go in and start by going probably to our site view and just like draw this stuff out over here. If I have a look at my blockout, so my blockout, it's something like this. What I can do is I should I use my blockout mesh? Now let's do it. Let's just do it manually again. So we are going to get started, and our start will probably be somewhere along here. And then what I'd like to do is, I like to just often move it down a tiny bit over here, and this will, of course, later on become a bend. Now, sorry, it's a bit awkward. I was not looking at the right reference. So once again, start somewhere here, move it down. And it looks like that it is about halfway, which yeah we were pretty close. In terms of the angle, Yeah, see, we were really close with, like, the final. Let's start with something like this. Oh, I didn't mean to isolate. I meant to get rid of my blockout. Now, in terms of the distance, you can stick your fingers in there, but not your hand. That's kind of like what it looks like to me. So in terms of distance, and also it feels like it goes along with the shape. It doesn't go straight down. So I'm going to, of course, start with the top where our distance will start. Let's say something like this. Okay, push it down, and then push this one in so that it follows the shape maybe push it out a tiny bit more. Then we have this one, and for this one, we're just going to use a nice fillet. And I'm just moving over to my other reference because we are going to make this a little bit special later on. So for now, it looks like it's not that large of a circle, maybe like this. And then over here, this one is going to Mm. I feel like this one needs to be moved down a little bit more for it to look good and then fill it. Yeah, this one, like, it's quite a large circle. Okay, so we have this one. We have it moving down and to the side. We can then go in and we can do a sweep modifier with a cylinder which kind of places like somewhere in the center with a pivot. Now, the tricky one thickness, because I have no reference for the thickness, which is a little bit annoying. Well, there's a little bit of reference of a hand, but none of it is really like a point where I can clearly see the thickness of it. So I guess I need to just eyeball it a little bit. Say 1 centimeter to start with. Let's turn off Etch faces that didn't mean to do that, so that we can have better look. 1.2. 1.2 feels a bit too tick, 1.1. Yeah, I guess 1.1 feels actually quite good. Now, actually, no, no, it's too tick. Maybe one. Back to, like, the original. Now, another thing that I want to do is I want to go in and I'm just going to go and make this like push it out a little bit more. Yeah, that looks fine. Okay, so we got that one done. And then it will symmetry later on. So now what I wanted to do is I want to get this effect over here where it's kind of like squashed down. It's quite an easy effect to get. We just basically go to a side view. Add and added poly. At this point, also make sure that you have enough segments for the roundness. If you feel like you need more, you can go into your sweep and here or see more or less, I mean, and you can add more or less. I feel like actually tree is enough. And now what I'm going to do is in this added poly, I'm just going to select pretty much half up until let's say this point. I just want to push this down. Sorry. Also this one. Should I push it down or should I push it down probably up until here. The reason I want to do that is because here you can see that we have a connection point, so we can use that point as an excuse to have our shape go back into a cylinder again. Knowing that, it will be I up until here. And then I can also push it down like this. And we actually want to have it quite a strong transition. Yeah, here. See, that looks nice. It's funny because all of these shapes, it looks like we are just making errors, but that's not the case. Like they are actually like that. I think I'm going to push this back in a little bit more like this. Okay. And then over here, we want to sort of do the same stuff. But it will probably be T one is a bit trickier because it's like rotated a bit. With this one, it might be easier for me to just go in. And just do it by hand. Mm. Oh, I missed one, I think. I missed a few. There we go. It's a bit of a really awkward position, but if we push this in, and this one looks like it has a bit of a smoother fall off, so I can select these two sides. And if I just go ahead and chem for those Maybe I'll search for these ones, actually. Here, see? That adds some thinness to both sides. Now I just move this so that we have enough space over here. I then grab the side over here and I'm going to flatten it. Push it back a little bit because what we're going to do is we are going to merge this later on together. So we have this one, and now I'm going to go ahead and do a symmetry modifier on the x axis, press flip. And then I'm just going to eyeball it. There we go. Okay, so we have our base shape now ready to go. Now what we need to do is we need to merge our base shape to this part over here. Multiple ways that you can do it. Very quick way is to basically just go in, although you still need to do some cleanup and just add a very quick cylinder like roughly the location where you have your shape and make sure that cylinder is somewhat the same amount of segments or somewhat, make sure that cylinder is the same amount of segments. And then we're basically going to use Booleans to, like, merge this together. So I have this one I can place it over here. And then if you just go ahead and select your main shape, save sin actually, go to compound objects, pro Boolean, and you just want to use Boolean functions like for example, subtraction is actually already fine. If you just press start picking, and subtract those. Now we can see that it goes inwards. Now, if we isolate this, you can see that basically we just created some holes. I want to make sure that here, see, this is what I wanted to make sure of that the geometry doesn't break, which it did break. If the geometry breaks, which can sometimes happen because booleans do not like phases that are completely open, then what you can do is you can try union. That's too bad. I guess because this is an open face, it's just unable. One thing that you can try to do is you can try to select the top and just press Cap bowl. This is just because it doesn't understand when it's an open face what to do. Let's try one more time. Boolean subtraction, go to advanced options and turn off, remove only visible or sorry, turn. Here see? Now it works. So Booleans are wily Buggy. It's just something that you will get used to on how to use it. But at this point, we can convert this back to an dipol select these insights over here, plus grow selection to select the ring around it and just delete. And now at this point, you probably guessed it, we are just going to simply merge this together. We can go in here, move these out a little bit. Select the base, press attach. So yeah, this really is like a salt model. Sometimes what you can do is you can go in and you can use a bridge, but for that, we would first need to, like, weld things together. For now, what I'm going to do is I'm just going to do this by hand. It's not going to take that long because it's only like two cylinders. But like I said, there are so many ways to do the same thing. That's why I'm not really forcing you to use a specific way. I'm just saying like, Hey, this is what we do. Use whatever way you want as long as you get kind of like the end result. For some reason, this one doesn't want to welt. There we go. I think the reason it's breaking is because it's expecting us to place connections. What I'm going to do is first of all, this one can stay, but some of these, they are not really needed. As you can see over here, if I merge this together, this entire edge is not needed. And can go away. Over here. Again, when I weld this together, this entire edge is also not needed, and it will just cause problems. So of course, these are the biggest end guns you've ever seen, so we need to make sure that all of this is correctly welded. We will clean it up later on, as I said before. Just before we do a symmetry, we will start cleaning everything up. But for now, let's do this. Now, ideally, what I would want to do is I would want to merge this one here like that and then place a cut going from one cylinder to the other. But the cut tool sometimes has trouble understanding what I want. Sometimes you want to place a cut in between, and that's the only way to kind of get to that point. And then you just basically press Contra backspace, and now we manage to place a cut. The other cuts should be easier to get through. But maybe at this point, let's first of all, try to do some more welding here. Here you see? The top still cannot weld. It is just because it's a bit messy. See, I will say most assets that you make for production are not this difficult. This is really just like one of those assets where sadly, we chose a quite difficult one, but it will just also teach you a lot. And we will have at the end of this tutorial bonus chapters on how to do different type of assets also. 1 second. I'm just going to connect these ones. And the end goal is basically that we can bevel this. That's the whole goal for all of this, that we can add a nice bevel so that later on, we can add some welding. I'm going again, clean this one up. Actually, this entire one, don't know where it ends. Okay, it ends here. I'm just going to control back space because this will be symmetry anyway, so we can just kind of leave it like that. Connect this one to the base. These ones over here. I guess the only place where I can connect those is over there. It might also look really drastic right now in terms of the smoothening problems and everything, but don't worry about that. That will be fixed later. What you can also, but this is specific to trees, Max is you can try to select these two edges and press connect. Often, as long as there's a phase in between, it is able to connect, which might be easier in this instance compared to trying to use the CAD tool. Here we connect them. This one is already selected here. You can even move it a little bit. This one is selected here. If you once we can do a quick smooth. It's like a quick outer smooth just to kind of, like, clean it up. And now what we can do is we can just end with There we go. Welding this. Let's press contra A, and just in case, let's weld everything at a very low level, see? Here we saved four vertices, which means that four vertices were somewhat overlapping. I cannot see that over here, I forgot to connect one point. Hm. I guess I can connect it. Well, that's the only way that I can connect it. And now we can select the side here. And here, wait. Look, that's where the problem is. Let's see. This one and this one needs to be connected. Here, I want this one and this one to be connected. There we go. That looks a bit clear. Where were we? We were selecting all around. Same over here. Ham for it. H. And give it quite a large bevel because these are really large welds, so we want to just make sure that's extra large, like 0.25. Look at that. Nice. That will work really well. Okay. Awesome. So those are now all connected to there. This is just like a separate model, so we don't really have to worry about that. Same like the screw. So at this point, we have this one now all weld done. We have these pieces done, these pieces done. All these pieces over here will end up in our actual height map, so we don't have to worry about that. So I would say that at this point, in our next chapter, we are going to do a cleanup stage. That's a pretty boring chapter, but it is really needed. And in this stage, we will clean up our mesh, we will add our weight to normal support, and just in the end, we will symmetry it, and then the body should be done, and then we can move on to most likely the top. So let's go ahead and continue with this in our next chapter. 13. 12 Creating Our Final Container Part5: Okay, so in this chapter, we are going to do general cleanup of our mesh. This means that we will be adding bevels so that we can add weight normal. So for example, in these areas, we will add some bevels and here, and we will also get rid of any guns and any type of geometry that we just really do not need. Now, because this is bit of like a time zooming and also quite boring chapter, I will go ahead and time lapse this because your geometry is highly unlikely to be identical to mine, so you would not be able to follow along anyway. Let's go ahead and kick in a quick Taps. I will just have some relaxing music. We will do some cleanup, and once that is done, I will go ahead and come back and in the next chapter, we will do it like a proper symmetry so that you don't miss anything. So let's go ahead and kick in the time laps. M 14. 13 Creating Our Final Container Part6: Okay, so with our optimization pass done, we can now go ahead and do asymmetry. Now, as you can see, the optimization is not perfect yet. I'm mostly focused on just adding my weight normals, and you can see over here that I added a weight norms modifier. This fixed most of our smoothing problems. We do have some issues here and there, but these will be fixed during the norm map. Normally, you would fix these issues by just pressing snap the largest phase and that would fix those. However, you cannot do that when your model has both cylinders and flat faces combined into one. But don't worry about it. Like, trust me, it will be fixed later on. And also, later on, just before we do the baking or sorry, the UVN map, would, of course, go in here and optimize any additional edges. The reason I don't like to optimize those right now is because I might still need to make changes to this model when everything is merged together, it just makes it a little bit more difficult. In any case, we can go ahead and we can just center our object over here. Let's temporarily just get rid of our weight normals and add asymmetry modifier on the Y axis and let's flip it around. Now, a pretty nice thing is that we can simply check by looking at our base over here and move a symmetry modifier until that is correct. Which is roughly around here. There we go. And now you can art was in almos again. So that already fixes most of those issues. So let's see. Oh. Oh, there we are. Okay. So, yeah, we got that fixed. Now, we still need to fix the center over here, but these bits are done, these bits are done. This stuff is done, this one is done. That's all looking pretty good. All of the other stuff will be in our hypol which means that, yeah, so let's focus on this one. Let's also focus on adding this little detail over here. And once that's done, we can go ahead so we can move over to the inside and then over to the top. So for that centre detail that we have, if we just go ahead and go in here, it should be quite easy, to be honest. Let's see. So let's go ahead and temporarily just get rid of our weighted normals. Let's go ahead and just convert to add a poly, and we can actually select this edge over here. And use this. So if we add a HEM f to this, make roughly the size that we want this little thing to be. And like I said, it's a little thing, so we don't want to go too crazy. Maybe 1.8. I'm going to go a little bit wider. The reason for that is because we are going to bevel it down into, like, a smaller area. So 32.5 maybe. Let's do 2.5. Then let's go ahead and select the center, do a simple inset. And this inset will basically be the outline that you can see over here, and then we are going to use our Bevo modifier to extrude this in. So probably something like this. Now, let's go ahead and grab a Bevo modifier. Let's make it a bit wider. And then what I like to do is I like to move it up a bit because it looks like that's it looks well, what it is, and it looks like that's also a little bit in center. And then this one needs to be moved down a bit. It looks something a little bit more in this direction. Maybe push it in a little bit more. But at this point, you can just go ahead and we can pretty much selex every edge. And then when we baffle that, it should work well in looking nice and smooth. There we go. And once this would be a hypol here, I can add my weight normals, that should work really well. Okay. Awesome. So we have that one done. Now what we're going to do is we are just going to work on this shape over here, which should not be too difficult. It looks like it's mostly just a cylinder. So if we go to our side view, in 1 second, I'm just lining things up. Grab a simple cylinder, and we want to have this probably on the tick version over here. So it looks like we want to make it about as big as our cylindrical shape, something like this. Let's move this in here. Right now it's at at 16 sites. I'm going to make this like 24 sides just because I want to push the quality a little bit more. Convert to an addi pool. Let's first of all, push this in until it is pushed in on all sides. Actually, you know what, though. I don't want to do that. I want to go in here and actually rotate it until it is sitting right in front of it like this so that we can later on, we can simply just add a nice bevel to it. Or jumper. Let's go ahead and just push this in. And the next thing I'm going to do is I'm going to go ahead and let's see. Let's inset this. You can also inset by just going to your skeleton and holding Shift, and then you can basically push this in. Inset this like this. No, that's too much. Let's go somewhere along here. Yeah, something like that should work. And next, what we can do is we can go ahead and we can art this in here and over here at this side, it's totally fine to have it a little bit floating like this because we would have a screw go in here. Like, it makes sense that it is not actually conforming to the actual shape because the screw will kind of be there to do that for us. So I'm just going to make this a flat face over here. Now the next thing I want to do is I want to go in, and it looks like this one is a little bit different. So let's art edge and select this and extrude this out on our local normal and basically make it like the same width as the exterior on this side. Now, let's see. It looks like that we want to kind of go in here. And then if we just ring this round to select all of these edges, we can start with two edges like this, ring around again, do another connect like this. And then for this connect, I'm just going to go ahead and I'm going to push this in. And then I'm going to do one more inset And this time, I'm just going to extrude this in on the local normal. And after that, we'll just add some weight and normals to it, of course. Okay, so we have something like this that's working quite well. Maybe push this in. I don't know. It might be interesting for us to actually make something where we kind of, like, push it in like this and then just, like, assume that it's actually really close together because you won't really be able to see it, but it does feel a bit more logical. Yeah, let's do something like that. So we got this one. Now what we need to do is we also need to create these little pieces over here that are connected to it. For that, can I probably just go ahead and just select let's see, one, two, three, four? I don't know how much I have. One, two, three, four, five, click. One, two, three, four, five, click, one, two, three, four, five, click, one, two, three, four, five, click. Okay, so something like this is pretty even. I'm just going to go in isolation mode because else I cannot really see what I'm doing. Now, if we go over here, here, here and here. I accidentally did this the one way around, which makes it a little bit annoying. It means that basically I can bridge like this, but it also means that I need to go on the inside and I need to actually remove the bridge or the pace that we have over here because else we cannot merge it together. So normally I would remove those faces, but I wasn't thinking about it, so that's just my fault. Also, actually, yeah, one thing I made a mistake in is over here, you can see that it doesn't actually go all the way to the end. So let me just quickly Uo this. And let's go in here and select both these sites, ring them, and then add a single connect and push this connect out. That's too bad. It's flipped around. That sometimes happens. Sometimes it just flips around. In that case, what we need to do is we just need to keep the value in mind. So if we go, for example, to -50 here, then over here we want to go to plus 50 and then it will flip around. So here you can see -50, we now go ahead and just delete a minus here see. Now it's exactly the same positions again. So we got something like that. Since we are doing this again, I can just well now do it or correcta, one, two, three, four, five, click, one, two, three, four, five, click. One, two, three, four, five, click. One, two, three, four, five. Okay. So now you can see that I just delete that. Select these sides. And these ones. And when we would bridge this, it would still create a phase on the bottom. However, if you would go ahead and you would scale this completely flat like this, so we basically extrude and then scale it flat and then delete it, and now just select these edges and then go to weld and do like a low weld now they will actually all be connected totally fine. If you want, you can even grab these edges. And simply get rid of them. See? One last thing that we need to do is we need to go ahead and go into our local over here. And local basically means that it will scale based upon the local normal, and we want to basically scale this in a little bit because in real life, this doesn't look like it's expanding out, but rather in. It doesn't have to be so precise. It's like a super small model. But I still want to give it like something. I would say that this shape, at this point, it's probably small enough that we actually don't have the art weighted normals. So I probably already spoke about this before, but your weight normals have sort of like a threshold in where it is important or not. Of course, with a large body, it is important, but for something this small, as I showed before, like, the bolt, I believe it was for the in chapter number Chapter number five. Yes, I Chapter number five, I went over this. You might have noticed that when a model is really small, your normps can basically cover most of it. So all I'm going to do is I'm going to add, like a quick bevel here because it felt a little bit too sharp, see? And I'm just going to leave it like this. Like this is totally fine to me. I'm going to push this in here. Maybe do like an outer smooth on it, but that's about it. Let's nicely center pivot to make it easier to move. And then also just move it over here. There we go. That does the trick. Now, all that we need is we need to create like a little bolt that is sitting on here. And with this bolt, the actual tip will be done inside of probably substance. I need to check how Yes, yeah, yeah. Let's do that in substance signer. It looks like it's just a very simple bolt. So let's go ahead and just focus on that. And with a very simple bolt, it's often just like a sphere. I'm going to actually use the center pivot point of our Silma that we created to also be able to create a decent sized sphere over here. So that's just like win win that you can use those at the same time. And with these spheres, what you can often do is you can often just go in here. Let's go to our top view, delete half of it. So over here, what is happening is that actually the metal is supposed to go a little bit flat, and that's why we are able to have the bolt in here. So just like when over here, we have this shape, we should make this a little bit more flat. So what I will do is I will create a bolt and then base it on that. Let's start by just scaling this in. I'm going to scale this in by around 80. Once that is done, I'm going to just select this side and just grow to select the inner side over here. I probably want to go ahead and grow it once more. But let's do twice more and make this straight. Like this. We can also go ahead and get rid of these shapes. Oops. Now we can go ahead and select this, push this in. And also push this in over here. And I'm just doing this just in case we can somehow see it. While doing that, I realized that over here I made a mistake. I was supposed to art the bevel here. So let's just art a quick Jam. There we go, see so that you can actually see the bevel from the outside. That's better. Okay, so we have this one. We can do smooth and just do an outer smooth on it if we want to. Sometimes it is nice if you also want to, like, bevel this part over here just to make it a bit softer. I don't know if we actually want to spend the geometry on that, but let's just see what it looks like. Yeah, that does look nice. I'm also going to see if I just select one of these and I do over here a dot ring. What it will do is it will basically ring around, but it will only ring around every other edge. And I just want to check. It doesn't do that the center. If I remove these edges, if it will make a big difference. It does not. In that case, I'm going to save some polygons by removing these etches. I am going to make it a little bit smaller over here. And now at this point, I can push this in roughly here. I can go to this shape. It's converts at a pool we can have one edge over here, yes, another edge over here, and then also have two on the other side like this. For these ones, you might want to just quickly flatten this. With the general idea being that we grab, for example, these three and we flatten them like this. Oops, doesn't have to be perfectly flat, something like a little bit more flat. Over here. Okay, let's make it perfectly flat just because it doesn't seem to work very well. Then for these etches, we can actually move those out a little bit more and see, it just makes the metal a little bit more flat as if it is conformed around our bolt over here. Seeing this, I changed my mind and I don't think we actually need this etche around here. I think we are just going to clip it in, and that should do the trick. I can now go in and I can go to the other side. Once again, place my bolt roughly in the center. And for these ones, we can also once again, just like art and Edge here, one here, and then one that's quite far away. These ones, I'm just going to scale flat. Select this area, flatten it, push it back. There we go. At some weight normals here, but that is looking pretty good. And don't just ignore the smoothening. That doesn't look as good right now, but in general, this is looking pretty nice. I'm going to add some weight enormals to my bolts over here. And at that point, I can select both of these, hold Shift, turnal snap rotation, rotate it exactly 180. Go in here. Move it. Oh, I can see that over here. I need to rotate this probably 180 direction this way. There we go, because LCD is in the one direction, so 180 this way. Okay. And at this point, remember that we do need now again, resymmetize this, which is a little bit annoying, but should be fine because now if we just center it, we no longer have to move it. So we should be able to just do symmetry on the Y axis, and I need to flip it. Yeah, flip it around over here. And now you can see it's back. We can select these bolts and just place them roughly in the same location. I do want to make sure that this is pushed out. There we go, like that. Oh, turn off the local positioning. Okay. Let's double check over here if it does the same. Oh, yeah, over here, I need to do the same. I just need to go in and just clip this in here. Okay, perfect. So those things are now all done you get out the weight to normals again. Let's have a look what is next. So we've done these pieces, we've done these pieces, we've done these, so now it's going to be the inside, and after that, I will most likely go ahead and just end this chapter. And we'll take it from there. I'm just going to go in my added pool. Oh, sorry. Actually, let's just get rid of asymmetry and convert this to added pool. And I'm just for the inside making it super simple because it's going to be something that often has trash in it. It should be a very simple container. So I'm just going to move it somewhere here. I'm still in the local scaling, which I don't want to do, so I'm just switching back. I think something like this is already totally fine. If we now just go ahead and do a cali on the end Caple. There we go. And then if we just do a HNFOOh, accidentally deselected, give it a bunch of segments. Maybe too much. Something like two because it doesn't need a lot. And, just make it nice and round. Let's start with five over here. And then later we can definitely optimize these areas a little bit better. But in general, for now, just as like for the inside, I think that should be totally fine. I don't feel like we need, actual stuff on the inside. I don't know if there is anywhere where we can really see. Like most time the inside is just bare metal. It's just fairly simple. Yeah, here, I don't see anything. But this is going to be also for the inside where you have a few trash bags and you just like it's slightly open, all that stuff will look very cool when we do that. But in general, I think that marks our low ply body done for now, which means that in our next chapter, we are going to go ahead and we are going to work on the lid over here. And once that is done, all that we need to do is we need to do over here our wheels, and then we are ready to go to start by creating our hiple. So let's go ahead and continue with this in our next chapter. 15. 14 Creating Our Final Container Part7: Okay, so what we're going to do now is we are going to work on our lid. So we just finished the most difficult part, which was the body. Our lid should be quite a bit easier. It's mostly just like some smooth shapes. I can see here. One strong bevel, do have some other images. I can see here that there's just some lines, but those lines correspond with these shapes. So if we just keep all of that stuff in mind, and over here, it looks like it kind of cuts in. I should have taken better images of this. But okay. Let's get started by just creating the edge and the edge, it basically goes from sharp. Down, and then it kind of follows just the tip of our lid over here and it just goes around there. So that is something that we can also create. Probably going to just use a box for this to get started with. So let's use a box. I'm just going to create something. I cannot properly measure it until I've actually placed it in place. So I'm going to place this box just on top of the rest. Convert to an aipolen let's have a look. So over here, it feels like it goes just over it. And yes, we will need to also create the inside of the lid later on. But we also need to make all of this, that it's logical, that it works also. I think that's what is happening here. I think these pieces over here, they are connected with the baselt because there has to be some point where it actually connects. So we can just make up some type of connection in those ends. For now, move this over here. Let's make it definitely a bit thinner. Maybe I can have a look at my blockout. That's funny that I'm thinking the same as previous Amil with my blockout and stuff about thickness. This one goes a little bit in and over here, it should also go a little bit in. Let's see. There it is done. Over here also. Okay. Then next thing that we need to do is we need to give it some type of angling, and then we'll take it from there. Let's just get started by placing a swift loop. It looks like the angle stops just behind here. So like a simple swift loop. Then push this in. However, logically speaking, of course, there would not be any empty space here. That's something that we do need to have a think about, but maybe not now, maybe in a bit, let's have a look around. Yeah, there just aren't a lot of references off the back. Okay, here, so it's connected by metal, and it looks like that over here. I drops down, and then where it drops down, that's where we want to have the connection points. So knowing that, most likely what will happen here. Let me just have an extra look is that this is kind of like overlapping on top of the side. So I would almost like place it or align it over here, and then I'm going to, like, extrude this in so that we can move this out. So here, this one would be roughly somewhere here, and then we basically like grab these sides. Give me a second. Need to do the same over here. This side, and then this side will most likely be moved up a little bit later on. So right now we are having a perfectly flat, but then later on we will just move it up. For now, however, do something like this. I'm going to, first of all, already add some smoothening here because if I wait with that, it will just make things more difficult. I think we need like five smoothening points. Checking my reference 1 second. Is five enough? Will that be smooth, or do we want six? Let's go six over here. Now we have the top. I'm going to make the top a little bit thinner. And then my idea was basically to grab the base, give it a little inset. Maybe 0.5. And then push it in until it's just above the lid, something like this. Then general ideas that we want to make sure that it moves over it. So I guess we need to do this. Let's also to our side view, move over here, and here on the inside, there we go. That should do the trick. So basically the lid is being moved over. Over here, there's a little bit of spacing going on. Let's move that down a bit more. Yeah, I feel like that should work. Now, if we have this one, if we can just, like, give this a little chamfer over here just to make it a little bit more smooth when it transitions. And let's go in here and let's move this one up a little bit more. Oh, sorry, we, of course, now need to do that here. Move this up a little bit more. Let's start with something like this. Now what I want to do is I want to go ahead and first of all, create these transitions that go in here, and I think it's best if we first create the large shape, and then we can start cutting stuff out of that large shape. So for that over here, see? So we'll make the large shape, clean it up, start adding some lines to here and start cutting everything out. And that will be probably the most important thing. So first of all, there is, like, trim around it. So let's start by just doing like an inset. And the inset goes around here on this. So he here. So I'm just looking at my reference, trying to find over here, it's quite a lot, but you can see that over here, it's thinner. So it's almost like we go with three. Then if we just hold Shift and convert this to edges, we can then deselect everything but these edges, and we can move this down. There we go to give it a little bit more space. Now, at this point, it should be a matter of connecting this. However, it might be easier actually for us to connect these pieces down here so that they are not intersecting in our main shape. And then we will grab this piece. It's quite an extrudis over here. Again, convert this to edges, and then just deselect the back rotate this. Let's see, a rotation of five degrees should be fine. Now we will lose a lot of shape. I'm going to actually go a little bit bigger because when we are going to make all of this round and especially when it merges in here, we will lose a lot of shape. Also, about the merging, that's a good question that we need to ask ourselves. It will probably look better if we actually merge this, but it will also create a lot of errors when we actually want to turn this into super soft shapes. So let's just see what it does. If we go ahead and select all of these pieces except for maybe the back edge and give it a large champer. Over here. It's quite a set as do triangles. Oh, wow, let's not do triangles. Then uniform. So right now, what I can see is that even though over here it transitions, okay, this definitely is not looking the way that we want it to look. I'm going to go in and I'm going to move these down probably a bit. G to move it down. Now, it, it has this oval shape over here, but that should be enough to be done just with chefs. Like if I just do some testing over here. Yeah, the tricky thing is that we have too much geometry down here. I think that's actually one of the issues. So if we would go in and let's see if we just simply connect some of these pieces together, I wonder this one needs to be moved a bit, if that will work a little bit better. Yeah, it's a tricky shape to get right the first time, but we do need to just stay patient and will try to get it right because if we can get this with fairly clean geometry, then adding all of the other pieces will become quite easy. Okay, so we have this piece. First of all, just try HNF. So if I do a chenFo like this, it basically flows out. Which is again not exactly what you get over here. It does transition out, but in a different way, if I deselect this, this is a tricky one. I think I'm going to do something that I normally never do, and that is that I'm going to just add an additional model on top of this and see if we can do it that way instead of not having any intersections over here. Knowing that, let's go ahead and actually select all of this and just delete it. Like this. For now, let's just do a cap boli so that we can know where we need to be. Let's just go in the top view, isolate this, and draw out a brand new box. Hopefully, because this box will also not have any round edges yet, it will hopefully work a little bit better. What I'm also going to do is I'm also going to not merge these pieces together down here. Mostly what will happen is we will move this down but not merge it down. And if we then delete the bottom side and just to already give it like a twee see. There we go. That looks a lot more logical. Let's see if I now select this side also. No, I don't like that. So I guess we can just merge it together like this. What if we do something like this and then we basically grab it and we push it in. I think that should do the twig. Yeah, okay. So knowing that, of course, what we first want to do is we first want to create this gap over here. Do we do? Yeah, I think we do. But we don't want to smooth that gap. Oh, that's going to be annoying. One, I'm just using this as my blockout for now. I just need to do some prototyping. So, okay, yeah, I know what we can do. We can literally just remove the faces. So for now, you know this. Let's go ahead and also turn on our blockout. Okay, so our blockout is pretty much like aligned. So if I have both these pieces, I think we are ready. So let's go ahead and select this. It looks like what we need to do is we are going to start with, like, a very large champ champ, sorry. Over here. Let's do ten maybe. Yeah, so really nice and round. Then later on, there's also going to be like some kind of like an extrusion. I think I feel like this it extrudes out, and it goes like all the way around. It most likely uses that because of the molding that we have over here. So if we say Okay to this, we can then go in here, scale this until it looks somewhat correct, which is at 25 scale, pushes back, and then later on we will, of course, just go in and make this correct. So this one also 25 26, 25, push back in here. Okay, so we got that stuff done. Now I want to go ahead and first of all, make a quick extrusion all the way along here for these shapes, and that extrusion will happen roughly halfway is a little bit above halfway, something like that. And for that, what we can do is we can just select this entire piece, extrude on the local normal and just move it in here, 0.6, for example, let's also select this etche and just move it down a little bit to give it a little bit of a bevel and not just have it straight down. Let's not forget that now here at the bottom, it will have created some additional pass which we can just I guess we cannot double click them, select one, go to the outside contro double click and just delete it. I want to keep the face open just to make it a bit easier. So that is now also done. Now, let's go ahead and just select the center, and now we are going to just create this gap over here. So we'll basically delete the gap, create one large bevel, and once that is done, we might want to already just create these shapes before we actually start merging everything together. So start with this one. Double connect. Let's move that back in a little bit. Where is our blockout? Our blockout is also around this point. I feel like we should move it in a little bit more minus ten. Yeah, I think that should work. Okay. Then we are basically going to just delete this entire piece. Go ahead and extrude this one edge down until it aligns flat over here. Then for now, what I want to do is I'm just going to select these two edges, bridge them, select these two, and bridge them. Doesn't want that. I basically wanted to just create a phase. I'm just going to extrude this, delete this again and just combine these or collapse these I need to flip around the face. There we go. Now we can collapse them. And that means that now I can basically do like a Cali over here. I really doesn't like me. Come on. You can do it. Just select only the site. Okay, that's unfortunate. If it's not able to do a capoly what you can also do is you can also just do a simple extrude. And then for now, just go ahead and then do Hmm. That's weird. I still doesn't do a caple. If it still doesn't do a cap poly, let's first of all, before we do anything, just go in here. Do the same, like extrude this 1 second out. I think it is just a face being flipped. Like, it really doesn't like me doing that more so than normal. So let's just delete that face. Okay. And let's also go ahead and delete these pieces. I know that I've done this way too difficult. There are so many more easier ways of doing it. Just collapse it. Welt. Yeah, there are way more easier ways of doing it. So just don't do it the same way I did, but you get the point, end up with two pass over here. And at that point, we can just go in, select these. And I first want to bevel these because these are like normal straight bevels, and then we want to bevel the inside, which is going to be nice and round. So start with like a simple single chamfer over here. Two, maybe. Yeah, two looks nice. Now, most likely it will start complaining when we also add a round bevel here. We could avoid that complaining a little bit by removing one of these edges over here, but I don't know if it will, here, I don't want to sacrifice that edge. So let's just see what it does. Let's add the chamfer, give it a few segments. Yeah, here, see. So it definitely likes to complain about stuff. Ah, can we fix that? Yeah, we should be able to fix that. Well, of course, we can fix it, but it's more like, can we fix it in an easy way? And I think if we just merge down these in here and then basically Oh, no, wait. We want to do it slightly different because else we lose the roundness on the inside and we would not want to do that. In that case, I'm going to go in, and I'm just going to delete these phases. There we go. So we basically have a fresh start again. And having this fresh start, now what I wanted to do is I wanted to just move this down or turn this into, like, one piece, which is a little bit more annoying than you would think. Start by just deselecting everything except for this round bit over here. The reason it's annoying is because if we just move this down, we will have edges that are on top of each other in this side. I don't normally like doing that, but I don't really know of a better way. If we just move this down over here, what I will do is I will probably make it just a problem for when we actually start merging this together. For now, we can just go in here. And kind of, like, collapse these etges and basically leave this problem to fix a little bit later on. So, okay, we have the inside, that's totally fine. Right now, I'm going to now start working on getting these shapes and these shapes will also translate into, like, these pieces over here. So if we have a look, it looks like that, it basically Add a connection line over here, we already did an extrusion. It almost feels like for the larger ones, it just continues on that extrusion, which would be fine. That would actually make things quite easy. Over here, these ones just seem to be kind of like built into the actual shape. To make it easier for us, we will have that shape just in front of these details. I also want to just check and see if I make this even rounder, if it will look better or worse because we do need to do some kind of like a transitional, like the very end And I'm just not sure how that will work. Most likely, what we'll end up doing at this point is we'll end up doing asymmetry. So I'm not actually going to bother with that site anymore. We are mostly just going to work on asymmetry, and let's get started by just placing our over here like the longer piece. For that, I'm going to start by a simple single connect. I'm going to just go ahead and make that connect completely straight. And then I'm going to che for that connect to give us the width that we want, probably like 4 centimeters. Yeah, that feels like a pretty decent width. Actually, maybe let's try five. Five would still, 44 would be better. Okay, so we have one stripe over here. Then it looks like there will be another stripe down here. But what we are going to do is we're probably just going to match that with these shapes down here. And the easiest way to do that is probably to just create a double connect like this, select one, and on the YXs move this in. Like the other, again, have align on the y axis that it's perfectly flat and move it in over here. This one will become an edge, this one will become an edge, and then on the other side, we would have the same stuff. Then over here we have just the inside. Now the next thing would also be that for these, these are actually quite easy to create. These ones over here are a little bit more of a pain. I'm going to make my life a bit easier and not have it on the actual curve, but have it just in front of it. Now, knowing that, I probably want to actually move one of these edges. That's really far away from the edge. Mmm. I need to think about that. While I'm having a think about that, let's just go ahead and actually start by just extruding out these pieces. Over here, do an easy extrude. Let's go to our side view and just see if it aligns. Move it down bit. There we go. Delete these edges. Let's see how we handle that other site over here? Let's go ahead and go to our blockout. Okay, so it has like a mesh. If we go ahead and place that mesh just in front of here, we probably want to make this just this back sit a little bit thinner if we can to kind of just transition it into here. I'm going to go ahead and get started by creating a sphere, and that sphere is basically going to be here so that we can properly align our shapes a little bit. I'm going to go ahead and use my blockout. Okay, my blockout is useless at this point. I'm going to go ahead and just place it by hand. So this is just a guidance. It's not actually in sphere, it's just a guidance. However, for now, we can, of course, use it to kind of give us the right idea of the scaling. So scaling would come down. We would probably want to actually go down here because we need to connect that stuff to the ends over here. Remember? Sorry, I always switch shifts my reference. Over here, you can see that over here, it was connected down the back. So that's something that we do definitely need to keep in mind that our cylinder wants to end move it forward. Our cylinder wants to end roughly here. At that point, we want to places not too high. And if I just have a look at it from a distance, may make a tiny bit smaller, tiny bit smaller. Again, just like, move it around a bit and have it floating just above here. Okay, cool. So we have this. Now what we can do is we can kind of decide how are we going to create these shapes? We can just extrude them out over here. However, then we would need to do a lot of extruding. Or what we can do is we can kind of just create the shapes new and then merge them together. And I'm going to do that because it is a little bit easier with a line. So I will go somewhere over here, and I will basically, smooth this out. And then make this go around from here. And then over here, we will kind of go probably just straight down. I feel like that would make sense, and then it kind of merges together. So now that we have done that, we just need to go in here, do some Bassier corners and just make sure that this is like all here, nice toward the side. You get perfect sphere if you keep all of these edges quite round. And it's quite important that we keep them around. Right click Basset corner and make this a little bit softer. Here you see? That's now quite a nice shape. So we got something like this. Actually, I don't think it even needs a hole in it because it is so tightly packed over here that we can probably just, like, fake it a little bit, except for on the end. But for the rest, let's say that we have this. I also want, of course, go in, and I want to kind of, like, merge this together. I think for now just doing an extrude should be fine. And then later on, what we can do is we can go in and connect it and then fill everything up. Okay, let's see. We got one of those, and then the other one will be all the way on the other side, so I don't have to worry about that. Now, this one, if this one is let's say 8 centimeters long, then the next one would probably be only 4 centimeters. The first one would start roughly here. Yeah, so we would need to probably, like, No, wait, we are not going to. We are going to merge it all into each other. So this one would be slightly edited. And I'm just having to think how I'm going to edit it. If I'm going to literally, move it all the way down here and just make it one solid mass, or if I'm going to make my life a bit easier and just move it down here. But, I mean, having an easy life it's boring. So maybe it would be cool if we go ahead and, like, move this quite far down, right click Bezier Corner, rotate this and just make it like a quite soft like that, and then basically just like merge it together and then like a nice bevel to kind of have everything working. I would then also need to go into my interpolation, and I realized that this is going to actually take quite a while to get this to work really, will well. So we'll have this one, and we will have the one sitting next to it, roughly over here. And then over here, what we are going to do, since we are going to edit all of this, we are also going to, like, add a cut in here. However, let's go ahead and finish all of that stuff in the next chapter. For now we have the basis over here done. So let's go ahead and continue on to the next chapter first. 16. 15 Creating Our Final Container Part8: Okay, so let's go ahead and just continue over here with our lid. It's going pretty well. We just need to fix these problems over here. Definitely, these ones are the most annoying ones. It looks like that we also want to have it go inward, but I need to check. There was one it's really difficult to see. Yeah, so we will probably push this in and then we would cut it out most likely. I will do that after we have done our merging together. I think that will probably be the easiest way to do things. Sorry. So at this point, I feel like we can get started with the merging. Let me just double check everything. So we have these back elements over here, which will be merged together. I almost feel like this one could become 1 second, will be nicer if it's a bit rounder, but I guess we should just keep it similar. Let's see. Then we have this extrusion here, this one here, this one here. Over here on the side, we do have some side panels, but we can just create those a little bit later and then we need to back panels. Then for rest, of course, we have asymmetry. Knowing that, let's start by first of all, adding some specific edge loops. We have one edge loop that goes over here, and then at that point, These things over here and also the back, they can be merged together. I think what's actually good is, you know what? Let's first of all, merge this to the base. I completely forgot that we still need to do that. So let's start by merging this to the base. I think that will work a little bit better. If we just isolate that and delete this one. Now we have the base over here. So most of this will just be basically moving it in the correct locations. I also can see that we have less segments. So because of that, I'm actually moving this not one by one, but I'm basically skipping one, and then we can just add some additional edges. Kind of feels like that we should have just kept them the way that they are right now. If you want, you can do that, but you need to merge it together, because if we do this, of course, we will lose all of that connections over there. So it's something that we'll work on a little bit later. Also, we are going to definitely add asymmetry to this later on too. So for now, we just kind of want to merge it only up until this point over here. And up here, we will have also some slightly different merging later on. So what I'm going to do is else going to place like a cut, probably somewhere over here. Okay. Let's select this piece. Let's get rid of any of these edges over here. That should do the trick. Isolate these two, and then I need to place one loop. Sorry, two loops here, one here, two loops here, two here, basically to the connection points. At this point, we can go at and we can pass attach. Now we just need to go in, do normal collapses like we often do. Around these areas over here, it looks like we need to do one, two, and I can keep this quite messy because I'm going to symmetrize it and after that, we will actually go in and add additional optimizations, I should say. Also for the bottom side, we can also keep that quite messy, right now, let's just focus on getting the top ready to go. I'm going to go in here. I'm going to play some additional loops. Let's see, this one, this one, this one, this one, this one, this one, this one. And we need one more over here, here, and over here. Let's go ahead and connect all of these. And, of course, later on we will nicely bevel everything and stuff like that. But I first want to get all of the rough work out of the way. Now, I'm to be honest starting to get also side the point where I was like, maybe I should have just done this all inside of sea brush and then just do a retopo. But I was stubborn and I will stick with my decision. But definitely you can also go that route. You can go the route of just going into sea brush, doing a re topo and all that stuff. I'm just going to go ahead and merge these up until before the bend over here, probably also here. And same over here, clean this up. Oh, no, wait, sorry. I don't need to do that because at that point, we will already have the mirror. I'm going to go in, and now the tricky thing is in order to we can merge this one, but then over here, I want to do a Capoli. So for that, we need to do the mirror. So if we are about ready, we are not, we need to do this side. Let's just go dX. Let's merge this side together. Okay. And now what we can do is we can just do a quick center to object, and we should be able to already do like a quick symmetry. He looks kind of funny, but not the one that we need. We need this one and we need to flip it around. There we go. Should double check that it's in the same position. Yeah, that looks fine. Okay, cool. So now that we have done that, we can cover it at a pol. We can select this inside. And for now we can encapPol and I'm going to place a connection over here and also if I can do it, a connection from here to here. And for now, that should be fine. Like, we are going to optimize it a little bit more later on. So those pieces are now all connected. Now what we're going to do is we are going to start by cutting out the chunks that we don't need. This is going to be over here, there's going to be chunk and this one here. So for this one, if we just move this around like this. Basically, the general idea, and we might want to move this back a little bit, is that this becomes one piece over here and we will kind of merge it in. Now, for these pieces, that's not going to be as easy because of the way that they are placed. Like, we need to kind of cut it around, and then we need to bevel it around. What I can do for these pieces is, let's get started by just moving this no, wait, sorry, we cannot move that. Let's start by cutting this, I should say, let's start over here. And what I want to do is I basically just want to place these cuts to follow roughly the curve of our object like this. Now at this point, we would need to have a swift loop. So let's place a swift loop here and here. You can see that the swift loop does not properly connect. That's just because we broke our connections, so we just need to go in. And again, it doesn't have to be super precise, but we want to go and make sure that there are loops existing in these areas. Same over here. Like this. Now at this point, we can go ahead and just continue our cut all the way along here. So for this one, it is quite easy. This one, we just need to go ahead and delete these, and then also we need to grab this actual piece and we need to delete from 1 second, we need to dd and add a pole from here, all the way down. So basically, this needs to just be deleted. And then what we can do is we can just do a very simple merging later on. Over here, what we need to do is we have this shape and we just want to add and add a poly. Start by just moving this edge just above it. Now what I'm going to do is I'm going to place a cut probably not everywhere, but I'm just going to place a few cuts which allows us to flip it around like this. I guess we will end it. Let's go to isolation mode. Let's end it over here. Now what we can do is we can simply select this side over here, delete, and then over here, we can do the same thing where we basically just select all the way around. And also delete it. So really old school way of just quickly starting to connect some pieces together. At that point, you just want to kind of do a target weld, and we will most likely be welding this piece towards this piece, which means that we just want to kind of select this piece. And also, we definitely also need to later on merges down, but that's not worry about that right now. We have this piece. We can just press attach. I'm going to place some additional segments. 1 second. This one will go here. Then I will place a cut here. This one can be cut over here. Let's add one extra loop here. This one can go here, this one can go here, add another cut from here to here. You probably get it by this point. Place another loop here, here, and also here. There we go. So now it looks quite clean. It's just one piece. Now the next thing that we need to do is also over here, we need to turn it into one piece. It's probably easier if we just quickly do a target belt and start by also getting rid of these etches, because they will just add a lot more complicated geometry, two things. I'm also going to go ahead and actually, over here, can I do this? Ah, that's perfect. Nice. That works well. That will save me a bit of time that I don't need to, like, merge everything together. So we got this stuff. Let's go in and place a loop here, but I feel like something went wrong. Okay, I guess it works fine. Another loop here. And at this point, oh, no, wait, sorry, let's not do that because we need to turn it into a bridge. So we do need to place a cut roughly here and then go down here so that we can delete this and now we can basically go in here, we can collapse this one, collapse this one. Quickly do a target belt over here. And at this point, we can also select a second one over here, collapse this one and this one and do a target belt I'm going to move this a bit. I'm trying not to waste too much time at this point because we've been spending quite a bit of time already on just low pool. Making the high pool will go quite a bit faster, so do keep that in mind. But just in general, I don't want to spend too much time just modeling, modding, moddling even though that's sometimes just what it is about. I'm going to now cap these and I should cap quite nicely like this. And then it's a matter of placing the right cuts. I'm going to place one cut that goes nicely around here. Over here, the cuts are going to be a little bit different. But it's just about getting some base cuts in here. In a time laps, I will go in and actually change this, but we still need to cut holes in this and all that kind of stuff. So I don't want to already start doing a lot of weird merging together. As you can see over here, this would now be all connected. And at that point, you can kind of choose how that you want to connect these points and all that kind of stuff. So okay, those pieces are now connected. We still need to bevel it, but that will also be done in a time lapse just because it makes it easy. Now the next one that we need to add is this one over here. So let's go in and attach this one. Merge that together. I guess we don't need this side because we can just fill it all in. I will move this back here and I need to go in and select this edge over here and move it up a little bit. There we go. Merge this edge. Also merge it over here. Get rid of this furs and cap CaplOce again, plays a nice cut. Oh, cut. If you have that, just click something and just press Z to zoom in. If you have really weird movements in your cameras. And I'm just trying to basically, get rid of some of the really drastic smoothing that you can see over here already as a precaution. So we have these three pieces over here. So those are now kind of, like, filtered in. Now what we need to do is we need to go ahead and get rid of a little chunk over here. And once that is done, I believe for the rest, it's just a matter of pushing a hole in here, which I guess we can just do everywhere. Like, it's not that big a deal. She's going to be a boolean. And then what we need to do is we need to do a bunch of optimizations and adding some additional bevels. But for that, I can just do that during a time lapse, as I said before. So first of all, over here to cut a hole in this piece. I want to hole basically end up here. So if I just zoom in. Yeah, it would just be a little piece over here missing. Let's go ahead and just collapse this on the Y axis. Move one over here. I'm trying to keep this really straight this time. Y axis. Another one over here. Et's go ahead and just scale this flat and move this in again because this one you want to of course, make sure that it aligns. And now for these pieces, we can start by deleting them. This one is a little bit more tricky because, of course, we don't know where it is on the other side. So what I like to do is I like to just simply extrude this down and place a quick swift loop here and then kind of move this around. And once that is done, we can go in and we can literally just delete this entire piece. And then it's mostly just a matter of going in here and keeping this fairly clean. I know that the geometry looks really ugly now, but again, I'm one of those people that works with quite messy geometry at first, but then I will go in and I will, of course, just clean everything up, fix it, all that kind of stuff. But Intutorals I do try to do it a little bit less because it can sometimes become a little bit overwhelming if you're not used to it. So I'm trying to keep that in mind. Is connecting that. Oh, here we have a stray V C. Let's just go ahead and collapse that. And now we can Caple this one. Over here, we need to also merge this one down. And this one, let's go in and start by placing cut here and a cut here. There we go. Okay, so we have made the cut if you want, you can just be sure select angle and set it to like an angle of five, select this, flatten it. Just to be extra sure that it's nice or flatten. You can see that we had some movement already going on. I don't know if over here, we should also flatten it. Yeah, we can do it, but it doesn't do too much. Now the next thing is that in here, we also had a chunk that's kind of like sticking out. But it is sticking out, but not completely, if that makes sense. The annoying thing with that is that we need to again, keep this super straight. So if we just add a swift loop where we roughly want to have to be sticking out and just move this in I can hopefully something like that, I can hopefully just go in and I can extrude this in up until probably this point, delete these backfaces and then just merge this down. That would probably be the easiest way to quickly create. Then we will just add a bunch of bevels around here, especially around here, we would go in add a nice chamfer and maybe make it nice round. Something like that. Okay, so we have that shape now done, and this is where we will also have the metal structures going on and stuff like that. We go inside, and over here, we do need to do some cleanup. But in general, we need to have a think about if we are going to, like, actually push this the bottom to actually push it in. Like, it might be something that you want to do if you want to open this up, or you might want to just kind of, like, fake it, but that's something that we can have a think about later on. You can even try to, like, boolean it by just moving this inside and moving it around a bit and then, adding a boolean on it. But for now, let's not actually worry about that because it's just not priority, especially not for this version because it will not be opened that much. Before I'm going to go in and change anything else, I'm just doing a double check. So we need to add some panels over here and over here. We also need to like a little lip around here. And for the rest, we just need to go ahead and cut a hole in here, and I think that's it. Yeah, we will need to do another symmetry, but let's start with the hole. So we can just go in here. We can add a cylinder. And try to somewhat have this cylinder in, like, the center. Now, have a look. This cylinder should also be around as big as the metal rod that will be like sitting inside of here. And then make it slightly bigger, something like this. Now, just go ahead and just place it roughly in the center and just make sure that it's sticking out from one side to the other side. At that point, we can select this piece. We can go ahead and go to our compound objects. And we can go to Pro Boolean, click on Advanced Options, remove only visible, and then extract oh, sorry, start picking and just pick. And now you can see that all that we need we need a bunch of optimization. Annoying thing is that P Boolean sometimes also leave messy vertzs. It looks like that this time it's not the case. Okay, nice. Sometimes you have a bunch of messy here, see. You have a bunch of these random two vertzs, so just keep an eye out on those also. It doesn't always happen, but just sometimes. So we will clean that up a little bit later and then also add the bev there. I think what I want to do to end this chapter is I'm going to art over here another piece and over here another piece, and that's about it. Once that is done, I will go ahead and I will kick in a time lapse where I will clean up this mesh, and just in general, I will, art not this piece over here because it's a separate model, but just like art this tiny extra detail and for the rest, just like, optimize it just to save a little bit of time. So first of all, we need to go over here, and this one, let's see, looks like that if we want to have a swift loop, probably roughly here, it seems quite easy. It seems like it can just be one of these pieces. Yeah, yeah, it's pretty much just like even here. I was thinking, like, maybe we need to make it straight, but actually, it is not straight. So it's a lazy way, but also a good way of doing it. So we have this one, and then I also wanted to extrude let's see. So if we have this around here, we should probably, this one needs to go here, but we want to move this down so that it's on one line. So this one can also be extruded roughly the same way. Just want to double check. If it does not, like, look strange or anything like that? I think that is square enough. The reason, even if it's like a tiny bit not square, what we can do is if we actually extrude this down on the local normal, something like Um, because we're going to, like, bevel all of it. So if we're going to bevel it, maybe we even want to go for -0.5, because we will bevel the sides and that will make things stand out a little bit less. But what I was talking about is that we want to select all of these corners and make them round. All of these round pieces, of course, like, a lot of willy messy geometry. This is why also in the hypol we are actually going to do some very different time saves so that we don't have to actually mess with all of that stuff. But when we have a mesh that is actually existing, we kind of just have to accept that we have to work with a lot of these really round corners. I don't think they need to be rounded like this. I don't think we need more geometry. Yeah, yeah. I feel like that more geometry does not actually art a lot. So we got something like this, and now we can also bevel those. So we have these pieces, these pieces. We have the ends over here. Let's just have a general look if we just quickly center up pivot and just add already a quick symmetry over here. We can just have a general look at what things look like. I can see that over here, this one is now being pushed beyond this point, however, what I will most likely do later on because there will be a metal structure in here, you won't see it, and I will most likely later on place my pivot point, for example, somewhere over here, and I would end up doing something like this. I would move it up a bit and then push it in a bit because that's how it often looks, and that will also, of course, make everything just feel a little bit better, see. Now it looks more like the reference. I don't want to do that right now because working on a angled model will just make our lives quite a bit more difficult. I would say that it's now done. Let's go ahead and in the next chapter, we will just have a simple time laps, once again, doing some cleanup, adding a bunch of bevels and all that kind of stuff just to make it work a bit better. I might also go in here and just like address the issues that we have in here and just see if we can make some kind of interesting pattern. But in general, it shouldn't be anything that we have not went over before, but we're starting to get into a pretty decent shape. So let's go ahead and continue with this in the next chapter. 17. 16 Creating Our Final Container Part9 Timelapse: A and a D. D. D. D the 18. 17 Creating Our Final Container Part9: Okay, so we finished optimizing the lid that took quite a while I took almost an hour to just optimize this and get it ready just because they tricky and annoying shapes, but it's nice that we did something a little bit more complicated, like you can see over here, and that we didn't go for something really basic. This is actually looking quite good. Now, of course, it's not fully optimized yet. As I said before, we can do that at the very end. But what I wanted to do now is I want to get started by just creating the inside, which is going to be probably quite simple. Well, yes and no. This is just going to be a metal cylinder, that's simple. The only thing that is a little bit more tricky is that we need to figure out a close up of what the back side looks. What I'm going to do is I'm going to go ahead and start with the cylinder and then we will just also maybe look for some additional reference. For the cylinder, we still had the Boolean cylinder, as you can see over here. So if we're smart, we can simply go to a font view and use that. On a weight. It was not a Boolean cylinder. It was just like cylinder that we used to measure something. And it's good that it has the exact same segments as the whole that we have over here so that you can kind of see like, Hey, it goes inside of it, but that's about it. Now, for this one, we can pretty much just like if we look at the reference, it ends roughly halfway in here, which makes sense. That's just where it is being held. And it's the same over here on this side. Sorry if my voice sounds a bit rough, I just woke up. So okay, that's looking really good. And just like that one cylinder, actually, adds like a big difference to everything. So that's nice. Now the next thing that we're going to do is we need to create the mechanism. And the mechanism, basically, it sits here and it is attached to the actual plastic bin. So let me just go ahead and try to find some type of reference for this. Okay, so honestly, I looked quite a bit, and I just cannot find reference off the back of a container with this specific lid. It really sucks. I should have definitely when I was here because I took these pictures when I was in Manchester, I should have definitely taken a picture of the back, so that's just honestly my fault. So instead, what we're going to do is improvise. So let's see what's like the closest look. So it looks like there's like a ring around here, and most likely that ring has, like, a specific lock. And I can see that the lock is kind of like in here. I'm just going to improvise. So Give me a second. Let's make this as a sep model. Turn on at faces over here. Now, this, of course, we want to make this quite a bit smaller, this is going to be the ring, and I'm going to make it. Let's see, let's make it quite a bit bigger, something like this. We probably want to have this attached a little bit closer to this site over here so that we do not hit the curve too much. Okay. Let's see. So we're going to have this ring inside. Now, this ring, it needs to be able to rotate. What I'm going to do just to indicate that there's something going on there is I'm going to give it an insert here and then press the plus sign to add an additional insert here. Now let's go ahead and set my good scaling, set this to my connection and just make it go inside, something like that. That should already cover most of those things if you want. What we can do is we can do one more thing where we just basically extrude this on the local normal and just extrude it inside. And we'll just use it as logic that this stuff over here can rotate. However, this stuff over here, it will be static or something like that. Now, it looks like there's just something that kind of is connected to this, and it goes down and then it disconnected to the actual like metal over here. I think I can make something up like a couple of bolts and stuff like that that should look somewhat logical. Yeah. Too bad that this one is sideways and not on the back. So okay, something with a couple of bolts that looks logical. Um, the poem that I have is that it is quite far from, like, this distance over here. That is a little bit, like, more tricky. Now, what I will also do at this point is, I probably want to move this down because it's not actually sitting on top. So let me just here we go. If we move this down, and then later we can, of course, move this up a little bit to properly get the lid size. Now, if we would go in here and let's say that probably up until something like this point, extrude this and just flatten it on the x axis, we're going to make that really smooth using bevels. If we do something like this, Let's see. So I also want to do something where, like, it has, like, something going in like a little gap inside of it, that there's, like, little trims around it. For that, I need to have a think about it. So let's see if we go if I push this over here, it looks really silly right now, but I'm still working on it, so please bear with me. And if I done, go ahead and do a ring. And let's see if we just do, like, a double connect, something like this, ones need to be rotated a bit. Then my idea was with the double connect to basically straighten out these edges. I need to go from here to here and from here to here. If I can straighten out these edges, something like this, then maybe in the back, I'm going to, like, connect them, push this back. Go to the side view and also in the side view, just kind push it in. There will be some bolts over here. I should actually delete this. I should have probably also made the connection like this. Oh, it needs to be a bit thinner. Okay. Now the next thing that I was going to do is I was going to go ahead and grab these corners. Give them a little chance for maybe on the triangle setting. That will just make it feel a little bit straight. I don't like how long this piece is. Now that is a little bit trickier to think of a way that we can make that less. Maybe we can just push it down like this and then we can do some another round bevel. Let's have a look if I just move this down here, Mm, select this and see if we now the hanfa here. Yeah, I feel like in these cases, making it around, it will make it feel less awkward and less weird. So something like this is pretty good. Now, we would need to also, of course, have two bolts or something over here. However, those bolts, we can later on just to grab them from our wheels. So for now, it's kind of like fine to use this. So next thing would be that we would need to baffle it. I'm just going to I'm not a big fan of the top right now. I almost want to give it like a little cut around the top. What I just need to figure out is exactly where I can give that cut while also keeping this side over here. There is a good question. Let's see. If we just move this, let's say, go to give it some space because else we get out to make a cut. Yeah, something like that would already be enough. Oh, I can see over here that something went wrong. We need to push this in. Okay, is there anything else that we can do in this metal bit over here? I'm not sure. Maybe not. Maybe this is just like what it's going to be. And then we can have some kind of maybe trim detail or something in here. But I think it actually would be overkill if I go in here and do some kind of like an inset. Oh. The inset is broken. In that case, just go down to your utility tools and reset your X form. Sometimes we move things around too much and then it gets confused. And then when we reset the X form, now you can see that the inset is better again. But I'm just wondering, I know that in the top, it breaks. Yeah, this might actually work. Let's go ahead and Target belt these things down. These up. And now let's just go ahead and do a battle. So for these pieces, what you can sometimes also do is you can try to use a Jam for note to automatically add the bevel everywhere. Now, it kind of depends how this looks so over here, because, of course, it means that the bevel will be the same everywhere. So I'm just double checking to make sure that the Jefa note is not doing something strange. Like, for example, you would not want to have a chef over here unlike the actual cylinder, but it looks like that this is working, and it can save us some time. So here you can see that now if we outweigh normals, it instantly kind of works. The only thing that I want to do is after my Jefa. I want to go in. First of all, press contra A and just weld everything at a very low level like this, you can see that we already saved a couple of polygons. And for the rest, there is still some optimization that we need to do, but we can do that in our final optimization pass. So for now, this should already work fine like this. See, from the side, we can see something like this. From the back, we can see something like this. And then if we would go in and let's select both of these, so it would rotate around the side. So if you select both of these things, go at an effect pivot only and then just move your pivot to the center. Oh, it moves in the wrong way. You can merge it together, but actually, this one doesn't have to move, so I don't know what I was thinking about. I can literally just select only the lid. And at this point, it can basically be moved open and close. I just want to make sure that if I do this, you'll see that a little bit of a problem that here in the back it kind of clips into when we open it. And that would not make a lot of sense. So over here like this is fine, it's going around the clip. What I would do is it looks like that I can basically just select the if we add a ply, select the base, and have that one a little bit floating. In front of it. There we go. That should be an easy fix. Like, yeah, it still clips a little bit, so maybe move it up a little bit more. But we also don't have to go crazy. Unless you are planning to make it absolutely perfect, because you are animating it or something like that, then of course. But for our use case, the only thing that I want to do is when I open it because there will be static meshes, I don't want any weird clipping going on. So like over here, there's a little bit of clipping, but you probably won't ever notice it, so it should be fine. And if you want to really open it up like this, over here, it will probably hang somewhere along this side, but it looks like everything else still is working totally fine. Yeah, we have the connections here. Yeah. That's looking good. So then we can see the inside. Let me just undo that. Here we go. Another thing is that I might want to add one additional just because else it feels a little bit weak with such a thin because our bracket is probably a little bit thinner than most other ones. So I want to add an additional one here. Now, I just need to check. So if I rotate this, that's fine. It's just that now over here, it is kind of like clipping. So I would want to go in here and say, let's isolate these two pieces. Mm. It's clipping over there. So if I just go in, let's see, this point? No, I cannot I cannot move it like that J second. Let me just turn off my weight at normals. I think I only want to move it Oh, that's tricky. Look, I don't want to just move this entire piece, but if I cannot really go without moving it, if that makes sense, or I can just push the entire thing forward. I could do that. I could literally grab all of this stuff over here. And then, kind of, like, just push it forward like this. Yeah. Easy does it? That should do the trick. And then there will also be one here. Of course, with these ones, what we will most likely do is we will only texture like one or maybe two of them, and then we will just go ahead and copy them. We will do this to save UV space. But anyway, so the lid is now done. Feel like I'm forgetting something. So let me just double check. So yeah, we have the lid. We have the metal around it. We have the metal bracket sitting on it. We fix the rotation stuff. We got the general look of it. I guess one of the things that we do need to have is we need to have this weird little knob, but we can make it a little bit more simplistic. So let's go in here to our top view, and let's grab just like a cylinder. We grab a cylinder. We can move it. Move this back up. Make it a bit smaller. Okay converts at a pool. So let's start by just making it a bit bigger. And then the top, it looks like at the top, needs to be am ford. That's a bit much. Maybe two. Yeah, 23. I think two should do the trick. I mean. So we go here. Then we go ahead and go move this inside, bat another one. At a Bevo push this in add a tiny chamfer at the bottom over here. And what I will do with this one is I will go ahead and I will just place it on top. I know that it's like kind of floating in real life, but for us, we are just going to have this one sitting on top. And then on the very top, we again need to have a little bolt, so you can see it kind of like over here. So what we will do is we will go ahead and do that again when we have created the bolts for our wheels. I will go ahead and do that in the next chapter. I will start with the bolts and then we can do everything else later. However, for now, this should be fine. So we got all of this stuff done. And if you look at it from the top, yeah, it feels like a solid container. So let's go ahead and continue on to our next chapter where we will start working on our wheels. So let's continue with that. 19. 18 Creating Our Final Container Part10: Okay, so we have arrived at the last part of our model, which is going to be the wheels over here. So for our wheels, I first wanted to create the actual wheel and then we're going to create this bracket. This is something that's really low to the ground. I know that this bracket has a lot of information on it. We will not go as insane with the information, so it's big. So we are not going to create the internals and all that kind of stuff. Just because for an asset like this, it's just often not needed. And let's see, because we did move away from the blockout a little bit, as you can see over here with making this quite a bit lower. Let's have a look at my front view. Yeah, so we probably need to make our wheels a little bit smaller also. Let's turn off for a blockout. I cannot even see where it is. Oh, it's on this side. Can I go from left to, like, right? There we go. That's easier for me because I'm right handed. So this is the part, and then there will be like a bracket, but the brackets also going over the wheel, so we don't have to make it go that much smaller. Let's see bracket wheel, maybe a diameter of 8 centimeters. Move it to the ground. Yeah, I feel like that should work. And else we can always scale it down a little bit once we have created the actual shape. So for the shape, the height, well, in this case, the thickness, something like and we'll like add a patron to this inside of substance. We don't really have to do that in here. So yeah, something like that should work. Looks like a fairly simple shape, not super round, like a little bit flat. So let's just go for something like this. Let's move it in center. Yeah, that should work. Okay, cool. Let's go ahead and furthest to add a poly, select the outsides and the start by just a simple chenvo which will take care of the roundness of our wheels. So we don't want to make the wheels too round because it feels like it has quite a large flat area over here still. Probably also want to go ahead and not give it too many segments, maybe 1.2. Yeah, let's try 1.2 for now. Now, it also feels actually a little bit too thin, so I'm going to push this out a little bit more. And you know what? I'm just going to go ahead and create one side, and then I will just do like a symmetry. That's probably a bit easier. So we have this. We are going to go ahead and inset it until it has, like, a fairly large flat area over here. Now, this flat area, it kind of goes inside a little bit. Then probably what we want to do is we want to go ahead and extrude this out. I'm just having to think about the best way to go in here and maybe if we like scale this down a bit, to make it feel like. But we don't actually want to have it feeling like it's floating on top. Yeah, you know what? I'm not going to do that. I'm just going to go ahead and leave it like this. And then we'll just, like, place no bevel here, but we'll place like a bevel on the end. So let's go for something like this. Then we need to scale this in. Let's see, something like I'm just following this pattern over here, basically. So something like this. Go inside. Then we'll go inside quite a bit. Push this down. This one is going to be a round. So let's then go and push this in again. And for now, let's just go ahead and already have a look. So this side is going to be quite round. So I'm just going to go ahead and give it some segments. But then over here, this one was a bit tricky. I wanted to make this like a really small bevel. And then these ones should become a little bit larger to kind of make the flow correct. Maybe even like some extra segments here. Two might be too much, maybe one segment over here. But I'm still not super happy with, like, this part over here. There's a little non map trim around it. So I'm just trying let's see if I just get rid of this segment so that we end over here. Maybe if I do like the tiniest trim that once we actually do this, but when we convert this to a hipoly it might look nice. So for now, let's do something like this, select the outside and then do want to scale the outside up a bit because else, it feels a bit too sharp. Let's have a look without Edge and faces. Yeah, so that feels a little bit better. Um, I'm not I don't like that I can see the polygons this well, but I need to keep in mind that it will be like Willy Small. So probably for now, it's fine. We should not need to worry about it. Absolute worst case is you would go ahead and you would select everything, and you would just cheat a bit by adding a single chamfer, but adding it like evenly until everything is like evenly around, like you can see over here. That's not really a technique that I like to do, but it's just like to tell you. Let's see. We now want to go in quite a bit so that there's enough space for, like, bolts and all that kind of stuff. Then it would go see up here. Yeah, you know what? That should actually already be it, because the rest kind of gets handled by the actual bolt and all that stuff in this structure. So let's see. We have this one. So let's go in and select these two edges and also champ for those to make it here to make it like a soft flow and then select this one and make this one a bit smaller. I think something like that should work. I'm just going to go ahead and collapse this over here. Starting quick out or smooth. Hey, I think for a wheel, that should work well. Let's just go ahead and see if we do not on the side, hit the center. We do not, so that's really good because that means that now we can just go ahead and do a center pivot, add a symmetry modifier. I think I'm going to make it actually a little bit thicker. Something like this. Yeah, there we go. That should work. Then you got to add a weight normals on top. But in general, that should do the trick. Okay, awesome. So we have this one. It's already correctly located. So now what we're going to do is we're going to work on that thing. So let's have a look. So pretty much like it goes around, then it straightens out, goes around it, and then straighten out again. And that's one piece. Like this one over here is going to be another piece. So knowing that we'll probably start with a cylinder. And we'll have that cylinder go kind of like down, and then we'll extrude the cylinder out, so that should work well. Let's see. I'm going to k just these pieces for now. Oh, I note here that's not in the center. Something like this. So let's get started by just creating a cylinder, and the cylinder needs to be quite a bit bigger than the actual wheel, maybe something like this. Let's set this 24-18. No, wait, we probably want actually a bit more. Let's stay with 24. The big gas, we need to do a lot of sweetening. So then it's good to actually have a little bit of extra polygon count. Mm. Sorry, guys, I'm just having a look, making sure that I have enough space. So this one would come near the near the front, but then it would, like, flatten out the front. So let's start with something like this. Covered Ai pool. One, two, maybe one more. Now, let's not do one more. Let's start with this. Push it in. Okay. So that's that shape. And the shape is not extending over. I'm just looking at this reference over here. The shape is not extending over to the edge. So it would be like here. And then the shape basically goes around it would need to keep the curve, but there's a point where the curve leaves that's somewhere here, I think. No wait it's one less. Like this. The reason I think it's one less because here you can see that the curve kind goes in and then it extrudes out. If we just go for something like this, and then we extrude things out. Now, the shape is quite a bit too large, but that should still be fine. 1 second. Let me just Oh, Okay, so it's because we have a top and the bottom. For now, we can leave the top and the bottom because we need to do a boolean later on. So first of all, let's just focus on getting this to a point where I want, and I want to angle it a little bit. I'm not happy that over here, it doesn't actually go inside. So it would almost be like, actually, yes, we want to angle it, but we want to, like, push it inside more like this. And then maybe what I can do is I can add, like an extra segment here. Mm or I can extrude this out and then angle. Yeah, that looks better. If I extrude this out and then angle it. That does feel better. I also feel like the entire thing can be a little bit smaller because it should be just in front of the wheels on both sides. Something like that. Yeah, so that feels a bit better. Say, please bear with me. I'm just trying to get this to work well, the first time instead of, like, needing to mess around with it later on. Push this one down, so this will become around. So what's going to happen is that we have this is like a shell. So although it is a shell, but it is a shell that has a top. So what I want to do is I want to actually turn it into a shell, and then I'm going to boolean it, and I'm basically just going to cut along this side for the boolean. Now, doing that, I first of all, need to do a few more things. So first of all, I feel like that over here on the top. I don't have enough space. See how what's happening. See how much space there is. Whoa, Purevs being a bit strange. Hopefully, that will not go worse. Nels I will just like restart it. But Baski I want to go ahead and push it out, but I cannot push it out too far because then we have, again problems. However, because we scale this, we can push this in a little bit more, which allows us to push it out a little bit more again. A bit like this. Now, over here, it should probably be best if we already give it some roundness in here. There we go. We will cut this one going all the way from here to here, which means that we will for now, not add any roundness there that will come a little bit later. And we also have something at the top. But let's say that for now, this is fine. We can then go ahead and just select by angle over here, Inset this now comes the tricky part is that I want to make it into a shell. You know what? I know a better way. So this is a technique that's specific to threes MX, so you can use the inset and then bridge everything. But what you can also do in three Max is you can often just delete all of the *** until you have this and then use a shell modifier. And a shell modifier, if we set this to inner amount, here, see, it will basically just like extrude this out as if it is a shell. Which makes things a little bit fast for us to kind of, like, handle with things. Yeah, that's correct thickness. So now that we have this, I'm going to just go ahead and isolate these two pieces, and I'm going to go up here and I'm going to use a line to create a boolean. This line will basically look like this. So it will just have that flow that you can see, actually, this is the flow. Like, it's really annoying because you don't notice that the flow is like this, so that's why it's good to have multiple reference images. But basically, it kind of looks like it goes straight. A bit higher. Go straight a bit here. Up until somewhere here, click and drag. Make it nice round. And you want to make sure that you close the spine. So we are closing the spine, moving it here. And then for this one, because I don't like to have this really messy shape, I'm just going to do a Basier corner. And just kind of like making somewhat straight. Doesn't have to be perfect. But Oh, looks like that the Base corner did some weirdness. Let me just double check. That's still correct. Yeah, okay, so that's fine. The end goal is that we have a if we press extrude, a shape like this, which we can just push on top of this over here. Then we grab our original, go to our primitive objects, compound objects, and problean Set is to remove only visible and just press start. So we've done this before, and you just start picking it. See? And now it will basically cut out that shape. It's often still quite a bit messy, but it's good enough for now. So we have something like this. I'm going to go ahead and I'm going to add something called an FFD modifier. Inside of blender or inside of Maya. It's called lettuce, Lettuce ate? No, not late. I cannot pronounce it, but something in that direction, and it basically just allows you to edit your entire model based upon like four points over here. And I'm just doing that because I wanted to move it down a little bit. And at this point, we probably need to do some cleanup. So we now have this piece sitting over here. I'm going to make the top solid. And I'm just going to extend this out to stay solid, and then we have the brake system. But for now, what we need to do is clean up. So the first one, easy one, we need to go down here. Oh, I can see over here that it's broken. You can't shy to reset your phones, but sometimes it's broken because of the bull. Yeah, here. So it's broken because of the bollon. That's no problem. That just means that we need to go ahead and clean it up. If you go into your vertex mode and targets belt, first of all, start by merging down all of these really weird vertss that are just kind of like floating in here. This is because we are cutting out a sharp shape from a round shape, it becomes really messy really quickly. Make sure that you don't go too crazy because you don't want to, like, alter the actual shape too much. If you feel like you need to alter it too much, then just use your cut tool to add new segments. Like, over here, I can kind of still live with this kind of stuff. But yeah, you just need to be a little bit careful. Like, Oh, there's more. O here, one here. Those were probably the ones that broke our Boolean effect. Okay, now let's go to Akatu. First of all, we can connect these ones. But yeah, you just want to basically connect all of your wordss these ones are always a little bit tricky over here because you don't want to alter the shape, so what I like to do is I like to make it almost as if it's like a new segment over here, just like an additional segment, instead of trying to merge it diagonally to another vertice because when you do that, what will happen is that you can really see the flow too good, we don't want that. Over here at this point, it's pretty much flat, so we can kind of just, like, you know, clean this up a bit. And we needed to connect these pieces over here anyway. So it's win win. Let's see. Let's go something like this. Yeah, that should be fine. And over here, nicely go around and do the same stuff. And I'm just going to follow the example that I did over there and just also have one around here. But that should pretty much do the trick. So that will fix that shape. Okay, so now we wanted to make the top of this shape actually solid. Easiest thing probably to do is to actually move it down a little bit like this and then just select the top faces. Move them up a little bit until they hit the inside somewhere over here. And now over here, what you can do is you can select this in this phase and just bridge it because we can have an inside this time the bridge will work. Now I'm just going to go ahead and I'm going to select all of Oh, no, wait, not all of these. I'm going to delete those and just do like a simple Capli. It's probably better in this scenario. If you want to be lazy, what you can do is you can just select this. Scroll down, pass collapse. And then maybe we can like art an extra segment here. So if we would do the same over here, scroll down or scroll down, inset, collapse, move it here, and then just to make our geometry extra solid, we just do this. There we go. Okay, so that is this shape. I don't know if we need to do anything else with it. There's some little normal details, but we can alter those later on. And over here, yes, there is a hole in here, but you cannot see because of the bolt on top. So we also don't really have to do anything in that instance. So I think for now, this should be pretty much fine. Maybe go in and move this down a little bit more. So what I can do is, I can actually use probably a HNF note on this. Let's go JEFR instead of, like, needing to do it manually so you want to make sure that over here, it doesn't mess up like this might seem strange, but that's just the metal being deformed over here going into this transition. So that should actually be fine. I probably want to make my envas a little bit less strong, something like 0.035. It's at the weight and normals just to check. Yeah, that totally works from a distance. Okay. Awesome. So let's now go ahead and start with the brake mechanism, which is going to be quite easy. Like I said, we are just going to probably create like an inset in here, but for the rest, we're not going to do anything special. So let's go in and select both of these and isolate. Go to our side view. Let's see. Let's go. This needs to be moved down and it goes up until probably like this point. Convert this to add a pool. Let's add an edge here, and then this one goes a little bit higher like this. Let's move this into place. So it goes around here. There will be the inside here, and then we will have a little lit. And for the lit, I will make it look a little bit more interesting, like this shape, just to kind of, like, break it and stuff like that. But first of all, I need to just make sure that the general ratio and the scale and everything looks correct. I'm going to move it a little bit more forward. Yeah, I think that works. Now, let's select this edge, and we're going to go ahead and give it some roundness. Now, for this one, what I'm going to do because we actually have a solid area in here, mostly we just want to go ahead and go from this side to probably like this side. Well, this side you can barely even see, but we're just going to basically cut it in. So let's say from here to here, we are going to then go in and actually, no what, no. Let's just add a connect tool first. I wanted to inset it, but we can probably just do better with a connect. Here, so we give it some thickness. Let's also place a connect somewhere here. Move it in, scale it on the Y axis. Up until this point. And then at this point, we can isolate it, and we can just select these edges, collapse. These ones, collapse. And then over here, you can see that it automatically push these faces up also. I'm not a big fan of how it is kind of like floating here. Like, it is only connected with two edges, and I never like that. So I might want to just go in and quickly do something like this, just because I like it when all my vertices are connected and stuff like that. And then over here on this side, it's mostly a matter of just running an inset. That's quite thin. And just pushing this into a point where we will later on not really be able to see much. So we got this stuff. Now, the corners. We probably want to make those round like this. And I think at that point, it's mostly just a matter of adding some bevels around here. To see how it reads from a distance. Yeah, that reads totally fine from a distance. So, okay, adding our bevels. I'm just checking where I can save some space or something like that. I wanted to do a Jenva but we most likely cannot do that. So what I will do is I will add two bevels here because they are supposed to be like wee wee small bevels. Something like this. And then from that point on, it's mostly just going to be doing a little bit of, like, manual selecting. I should have started selecting this site first because this site does not have any loops that I can loop around, so I need to do it by hand. But it doesn't take that long. Let's see. We go around here. I will also place a baffle here just for support. But that should already do the trick. If we now go and make this bevel, like, a little bit larger just to make it read a bit better. Let's double check for some cleanup. L over here, you can see that we need to do a little bit of cleanup just by merging these two vertices together and well, okay, this is technically, you know, angon so you want to go in and fix that stuff. But we will not export everything to Zebush. So we will only export, like the parts to Zebra that really need like sculpting, which is just going to be the main body, pretty much. All of the other stuff, we are just going to go ahead and we are going to Well, maybe this one we will turn Nah, we will need to turn these hypols inside of trees Max, because anything with curves, it's harder to turn into a hipoly. But in any case, most of this stuff is looking fine. Most of this stuff, I'm not even sure if we need a high poly for it, to be honest, because it's already weight normals. So I'll go over that a little bit later. For now, however, we have that. So let's finish this chapter off by creating the little lid over here. And yeah, we also need to create the bolts. So first of all, this one. I think if we just go to the top, we can pretty much just create a spline or a line, I should call it. Let's see. So if this is the center, let's start probably somewhere here. So it goes out in out Oh, I'm already messing I'm already messing up. Sorry about that. Let's see. Out in, O, in. Then it goes like round the sides. So let's say that we go somewhere here because we are going to later on, make these pieces round. Yeah, let's just do this. And then this one over here needs to have a fillet to make it a bit more round. Then we will have a extrude Since 0.1 needs to be quite thin. So we have an extrude like this. This one is going to be here. The thing I'm also worried about, it needs to be able to on the weight, it does not need to be able to hit. For some reason, I had in mind that, this will actually break the wheel, but it doesn't. There is a system inside that will break the wheel, and this basically just activates the brake by stepping on it. So yeah, often do definitely have a think about how things are constructed and everything like that. I'm going to push this out. At asymmetry on the x axis. Over here. And now what we can do is we can just do some manual movement and stuff like that just to make it a little bit more logical. So we have something like this, and then I want to probably push this one out also. Now, this will be at an angle. So if we just center the object, turn on a snap rotate, because often in case I need to change the angles back, I like to always do snap rotate because then I can just easily change the angles again. Move it somewhere here. So I look at it from a distance. Nice. That works. And then we just need like a little something like a cylinder or something that's on the inside that kind of, like, connects to it. It Honestly, you don't have to make it super detailed because at this point, the chances that you will see it are so small. So it's more like it's one of those things where we are making it, but honestly, here, we can just go nice and low poly. Honestly, it's up to you. If you know that your camera will get really close to this, then of course, spend more time. But I know that our cameras will not because this is literally just like part of absolutely massive environment. So I'm going to push this in a little bit. Move this in, maybe scale a bit more. There we go. Something as simple as that. Can I already do the twig? And then, of course, for this one, what we need to do? We don't need weighted normals for this, most likely. Yeah, I don't think so. So what I'm going to do is I'm going to go ahead and just like connect some stuff. Oh, we have some loose vertices here. Just get rid of those. There we go. Maybe I should have done the connecting before I did a mirror, but for now, just go to keep it super simple. And we'll get back to that in our Ti laps optimization chapter, which will be easy for you guys to watch, but not fun for me because I need to actually do the optimizations. There we go. Yeah. I feel like that gives a good impression Of course, this one you would not be able to push down, but you would move the wheels around and the wheels would basically rotate on an axis. And that axis is kind of like in here. So knowing, actually, while I'm saying that that axis will be in here, I might want to actually add a little we probably need to add a buffer in between, because if we don't do that, there isn't so much logic in why it would be able to rotate around. Now, this buffer can be very simple. It can just be like a simple cylinder. It's just that we need to create some space for it. Here, if I go for something like this, just move this down. Yeah, I think that works, even though it doesn't do much, it's just here to indicate, like, Hey, there will be some kind of merging around and paneling and all that kind of stuff. So we have that. Now what we need to do is we need to create a bolt. We have these bolts over here, which are going to be quite simple, and then we also have the backside of the bolt. Let's just go ahead the create boat and then we can use those everywhere. It's a bit of a pain because normally, what I would do is I would literally just go in and create all of these sorry, we already have these created. Also, one thing I just realized is that over here, I want this to be round. I totally forgot. Let's go ahead and give it some roundness. And then the chenvo should still work over here. Now, maybe before we do a Janv we want to do a quick, we need to isolate this. A quick cut. Here, here, here and here. There we go. Oh. This is something that we do also need to fix. I will probably fix it just like after Jefa to make it a bit easier. And that sometimes the Jefa doesn't realize that this is a bends and it adds like actual loops around it. But you can imagine that we don't want that because it will look less round. There we go. But still faster than adding all of our loops manually. So we got that one done. Now, what I also realize is that over here, I realize that X it is the wheel that is being pushed out will far. So I want to go ahead and I want to do that, too. And I just want to do that before asymmetry. So if we just go in and so like a select biangle and a five, there we go. So we want to go in and push this, but I want to make this a little bit less. You need to fill in between the metal. And maybe what we can also do is we can also just scale down like this. Push this in here. At this point, I can probably delete that part because you cannot see it. So I just deleted that phase and then over here, Make it smooth. Okay. So now what we need to do is we need to create our bolts. But while I'm going through this, I'm going to be a bit lazy because if you have seen the previous chapters, you saw that we already have a bunch of bolts, so I'm just going to use those just because there isn't any additional information in creating bolts. However, one thing that we also have is we have these little rings here, and I just need to check. So it's one. I guess it's only one. Yeah, I guess what we want to do is we just want to create some type of cylindrical detail on here for that. So let me just go ahead and create a cylinder. I don't know, somewhere here. And it looks like it's just like a soft round cylinder type thing. So let's go ahead and 18. Let's go for 16 probably. We don't need to go as high. Let's place it somewhere here. It needs to be a bit smaller. And it has, like, a bevel on both sides. So if we just place it just in front of this, convert to added popli Do this, select both sides, convert the edge, and add a quick hava and make it to a point that you can see it on both sides, something like this. And then if you want to over here, you can just scale this down and press collapse. And on the back side, you can kind of just delete that face because the face is just not needed. And maybe I'll the weight to normals. There we go. Super simple. So for the bolts, I already went ahead and I imported them. Now, something that we should keep in mind when it comes to bolts is that we will probably just, like, bake down one of them, and then use that one everywhere unless there are bolts that have different colors, but all of them seem to be pretty much like the exact same color. So knowing that maybe we will do like two but it basically means that for now, I will place the bolts, but I will place them more here just to, like, showcase what it will look like and make sure that everything just looks correctly. So we have our bolt hypol over here, as you can see, just like a simple hypole I will go over on how to create a hypole later on, and we have a low poly. Now I'm just going to copy my low poli, and I'm going to create a new layer that I'll call Temp, because, of course, I want to be able to see our final low poly container and all that kind of stuff. But first of all, we just need to go in and we need to create this stuff. I'm going to get started by duplicating this bolt, and I only need the actual bolt, nothing else. And that one is going to be up here. If you want, you can also temporarily just add like a different smooth modifier, because we will go ahead and replace these bolts later on anyway. Here to kind of give us a correct impression of what it will end up looking like. And what's annoying is that they have a different material, but that's something I can work on a little bit later. Okay, so we have both here. And then over here, what you can see we have pretty much the entire structure, but smaller. So let's also just go ahead and duplicate this. I'm going to go ahead and also center this to pivot. Snap rotate this 90, make it quite a bit smaller. Bit more. There we go. And then over here, you can just go in and you can select these bits. I think I'm going to delete this one and just only have the bolt. And now we can also see that we run into like a few pumps, so we need to move this around a bit. And it looks like I can also just delete this ring, which will save us a bit of space. Maybe scale everything down a little bit more. Here we go. It's going to add to temporary smooth. So these ones would go like one here, one here. And then there would also be like, let's two oops. Select this. Let's do two over here. On the way, this side, yeah, yeah, this side does need a bolt. It's just a little bit more annoying to actually have the bolt here. Um, I think that should be doable. Having it at this point. Yeah, I think we can live with that. And then over here, it's up to you if you want to keep it on one line or kind of, like, move it back a little bit, just to make it feel a little bit more logical. Okay, so we have those small bolts over there, and then we would also need to have a bolt on, like the back end. But for now, I'm just not going to do that. I just wanted to be able to grab this one and see what it looks like. And then I was hoping that we can also just, like, quickly, and we'll just, like, remove this later on, grab another one of these pieces here, kind of throw it there, grab another one here. I hope that the rotation works fine. Yeah, it works fine because sometimes it messes up the rotation when we have so many separate models selected. Grab one here. And then, of course, later on, it would look a little bit more in the direction of, if we rotate this stuff, it would do something like this. It's just for us to, like, now, see what things look like. I don't want to move that one, so I'm just going to go ahead and say move this one over here. There we go. Just to give us an indication of a final low poly model. Studley this one. And I think that that's looking really solid. Yeah. See, we have our wheels. Everything reads nice. Oops. Everything reads nice. We have a nice silhouette In general, even without having any norm maps, it looks like a decent model. So if you would not want to have any texts on it or something like that, and just use it like this. That also looks quite good. Everything is nicely welded together. It's double checking if there's nothing else that we forgot. So we got all of the body, this stuff, the metal, the metal here. I know that over here, there's like a little detail, but we can probably do that in painter if we really want to. Over here, we have these pieces, we have the locking mechanism, and down here, we have the wheels and everything. I think at this point, we are pretty much ready finally with our low poly version. Definitely took the longest. So what we'll do is in the next chapter, is we are going to start by creating our high poly version. Is still that will still require some work inside of three is Max, most work, actually. But for our main body specifically, because it's metal, this main body will actually also be sent to Zbrush where we will add some additional details to this. So for now, let's go ahead and finish the chapter of here, and let's continue to the next chapter. We'll start by creating our hypole variations. 20. 19 Turning Our Final Container Into High Poly Part1: Okay, so we are now going to get started by creating a hypolymsh. Now, for that, what we'll first do is we will first go ahead and we will turn the pieces that don't have to go to Zbrush into hypol and mostly only the body has to go to ZBrush, because we need to sorry, we need to, like, merge all of this together and do all of the welding, but we only need to do that on the metal parts, which is the body. The base part over here also doesn't will need to go to ZBrush. It just doesn't have any really specific details as far as I can see. Just something to keep in mind. Also, something to keep in mind is I did not forget the imperfections on our surface over here. Like, you can see, there are some imperfections where there's, like, dents and all that kind of stuff. I always do that after we even done all of the baking because else we would need to add all of these panels on the imperfections, which just makes things a lot more difficult. So let's start by turning everything over here into, like, our hypol. Now, most of this we can just time maps because it will just take a while, but I want to start by going in here and so we can turn off our temp. Oh, all of this stuff is supposed to be in temp. Actually, sorry, all of this stuff, by this point, we can probably just remove. Here we go. Let's just remove all of that because we only need one wheel to turn into hypole. Okay, so this stuff is everything that we need to turn into a hypole Also, we only really need to do one of these, to be honest. So what I'm going to do is I'm also going to go ahead and remove this one. This one and this one. So I'm basically just saving UV space by only baking the things that are necessary. And also, I'm saving time by only turning the pieces that need to become high poly necessary. So for example, over here, we have once again, we have a couple of these pieces. However, with these pieces, we can pretty much only have one of them that is textures or maybe two if we have UV space, and then we can just copy those pieces over. So for now, I can simply delete them. And this is our bare bones low poly ready to go. So at this point, we can go ahead and we can grab this piece, press Contrave so that we copy it and throw this into a new layer that we'll call container underscore HP, so for our hi ply, and then we can turn off the low poly. So low poly will be definitely also our backup. Later on, we still need to turn this even lower pool, but for now, we have the hypole container. So the way that this is going to work is that we need to add some supporting loops. Now we can do this in multiple ways, and it kind of depends on our model. What I will do is I will, for example, grab this piece over here to show you the general concept, and then we will go ahead and do this, like in a time laps. So what you can do is you can go ahead and turn off your weighted normals. With these pieces, we need to add a lot of geometry to basically make them hipole. We will do this by adding a turbo smooth over here, but what you can see, and turn on isolate display to make it easier, is that turbosmoot it breaks the model sometimes. This is because we do not have added something that's called supporting loops. Spotting loops are basically edges that go around our model, which will allow for our model to here, let me show you better example, which will make sure that the smoothening of your model doesn't extend beyond those edges. As a quick example, I can go over here, and you can see that when you have a turn off edge phases, when I smooth this, this one has a bevel, so you can see that it is quite decent already. But you can see that over here, it breaks the smoothing because there's nothing here that is supporting this edge. So in those cases, what you can do is you can, for example, if you add another added pol, if you would place in this specific case, a cut over here, what will happen is that the smoothing will not go beyond this edge. Now if we turbo smooth, you can see that it's already a bit better. And at that point, you just want to kind of go in and we want to try and find more connection points until this looks good enough. Now, over here, you can see that we will need to go in and we need to also, for example, like a swift loop over here. Although this one, I want to make it move down a bit more. Adding a swift loop over here, what will happen is it will basically clean up this edge over here to make it feel a bit sharper. You want to make sure that when you add these loops, so here you can see the difference between before or after and before. One thing that you want to make sure is that these loops, they depend on how close they are to the edges. Because we have a lot of bevels, it's actually quite beneficial that we don't need to add as many supporting loops. But these loops, if I place a loop, for example, over here, and then show you the tb so you can see that it's nice and soft. However, if you place this loop very, very close like this, it becomes a sharper edge. This is something to keep in mind because when you are baking something, you want to try and keep it fairly soft because baking also loses some of that softness. So it will look what you see here, it will look a little bit sharper when you are actually baking it. So in general, I do expect that you kind know the basics of just in general, what height the loplyi is when you are watching the citoyo cours. But we will still go over all of this beforehand. So at this point, what I will do is I will just go ahead and show you, let's say, this one, this one, this one. Oh, sorry, this one, this one, and this one, how to turn it into a hypol. And after that, I will kick in Tilaps and I will basically turn everything into hypole except for the body because the body, we need to add some additional panels. So for this one, what I often like to do is when I turn it into high pool, I like to always add an additional added poly just to keep things non destructive. Now, after that, I like to art the turbo smooth, turn on isolate display, and I often like to set my smoothing to two or three. Here you can see that we have some problems. These problems are here because these edges are only connected from one side, or sorry, these verses. This is something that you might have noticed me already saying to you multiple times that it's something that I also don't really like. I like to often make sure that these edges are connected. Can keep turning on and off your model over here just to double check. I can also see over here that for some reason, it's really cutting in here. Let's go ahead and press contra A. Do a quick weld at a very low level, just to make sure that everything is welded together. And then over here we want to work on this edge. As you can see right now, it just completely cuts away this edge. What we can do is we can try to just place a quick loop you can see over here around this edge. Doing that will kind of like you see it will cover the smoothening a little bit better. If you want to improve it even more, you can also place another cut going from here to here. Again, the high ply will not be your final geometry, so you can just throw in as many polygons as you want, at least, well, still keep it manageable, but you can do that to make things work better. So knowing this technique, it's quite an old school technique, but it definitely works where you just basically add some extra supporting loops, and it will just smooth things out a little bit more. That's our general goal. We just want to make sure that nothing smooths out too much. Luckily, because we have so much geometry already in these areas, the smoothening already works totally fine. So we don't really have to do anything with that. Just want to go in here, place a little loop around and an additional cut, and just double check by turning on and off your turbo smooth. Same over here. And over here, I'm just going to connect it to two sides. There we go, see. Now over here, because we already had a bevel, once again, we don't have to do any type of smoothing, and because there is no face here, there's also no smoothing here. At the end, when I think I'm done, I like to go ahead and turn on the dev shading and just double check, and I can see that over here and here, I still have smoothening issues. So I think I simply forgot, yeah, here, see, I just forgot those. That is my bed. Oops. Let's go also. There we go. See, and now it's a fairly smooth looking model. Of course, over here, it goes a little bit into a point, but that's no bom. That's simply the way that this looks because of how we made our geometry flow. If we want, we can even go in zebras, and we can smooth this out at this point. But that's up to you. So that's something that we can do later on, like it will not take a lot of extra work. So we have this one now done. Let's go ahead and hide selection, and now let's go on to the next one, which is this one over here. So for this one, again, we can turn on the turbo smooth, and we basically just want to make sure that the mesh stays intact. Now, that's quite easy because we already have a lot of these Janvas. What I sometimes like to do is I like to just double check, like, what did I do with my added pol? I think nothing. So I can go in my chenfa and I can try to add an additional segment in between my chenfa. Doing that, now when I smooth this, you can see that the edges, they work a little bit better. If I just turn it off, see, they stay intact a little bit more, so that can again save us some time. And at that point, it's just a matter of fixing these small arrows which often happen around the base. So here you can see that it happens because there's probably no connection here or here. And just in case I'm also going to place a connection like this to give it a little bit more room for the smoothening. And most of this it's about experience. I highly recommend if you don't know a lot about hipolymdeling, that you just watch a simple like introduction tutoil because a lot of these techniques, they are really specific depending on the situation, and there are quite a bit of techniques to basically repair a mesh that it works with hi pool that it's hard for me to really in a quick tutorial show you because it's just not the focus of this tutorial. That's the problem mostly. So I can go in here. Yeah, let's go this all the way around here. Same over here, connect this. And that's also why Toba Smooth doesn't like engons. And that's why I've been also trying to, like, fix many of them. We can see that over here, we still have an issue, and it looks like the issue is that it just like over here. I kind of like just um completely collapses. It's actually quite rare for that to happen where it collapses a bit. Ooh, like that. It's actually quite rare for that to happen, which is kind of ironic that white when I'm trying to teach it to toil, it happens while I almost never have this issue. Let's try to create a cut here. And let's try to also create a cut here that goes all the way to the side here, see? And now it flows a little bit better. We can do the same over here. So we wanted to create a cut going all the way to the side. And another cut here. Here see? Now that flows better. Over here around these areas, you can see that over here, it accidentally added some additional chevas. And because of that now when we tb smooth it, it doesn't look like a nice smooth edge. So what we want to do is we just want to simply merge those chefs together. Like this. And now, see, it will look nice and smooth. And of course, because we have this on both sides, we also need to do that here. You can see that this is also quite a time consuming process just to add edges and cleanup problems, and that is why I decided to time naps it after I've done a few of these just because this can easily take me like one half, 2 hours on a larger model like this. But I will make sure not the time naps actually turning the body into hi poly because that will involve a bunch of seabh and a bunch of other stuff. In general, do a final check and that's looking good. So it should just look like a mesh that belongs and that doesn't have any type of strange errors or something like that. Now, I'll just finish off with doing the wheel and after that, we can go ahead and we can continue with the rest. So over here with the wheel, we have a symmetry, as you can remember. So what I like to do is I like to add the added poly before we do our symmetry. This way, I can just go in here and I can add my supporting loop. So I want to add probably one loop here and here because I want to keep that bevel a bit intact. But most of these are really soft shapes, as you can see over here. I want to have a spot loop probably here. And these spot loops are just here once again, we just add a turbo smooth after these spots loops are just here to support the smoothening so that it doesn't blow out too much. Now, most of this stuff is already totally fine because it's a wheel. It was already going to be really smooth. So here you can see how we can very quickly turn this into our hiplymshes. These type of meshes, which already have a bevel like this, we can often literally just add a turbo smooth. And most time that works fine. If you feel like you need a little bit extra, you can quickly, just add a loop here and here. And if you want, you can also select by angle. Select one of these angles and just do a little inset. It just depends if you want to keep that bevel or if you want to make it extra smooth. Just make sure that the shape stays fairly similar to the low pool. We don't want to divert too much from the lowply shape. So at this point, I think I've shown you enough. So let's go ahead and kick in the Taps in the next chapter, where we will just go ahead and turn everything into a high ply except for our main body over here. So let's go ahead and continue with that in the next chapter. 21. 20 Turning Our Final Container Into High Poly Part2 Timelapse: And 22. 21 Turning Our Final Container Into High Poly Part3: Okay, so we have now created our hypol. Now, something I should mention is in the time laps, at the very end, I lost a little bit of footage, but it was literally just me placing a bunch of supporting loops in, like, these areas over here. So I end up not like redoing it because it would mean just like redoing quite a large part that actually doesn't really have any value. So in any case, we now have most of our hypole the last one that we need, which is going to be our most complicated and detailed one is, of course, our body. So for our body, as you can see over here, there's a few things that we want to do. We want to these panels. Now, we are going to use Z brush, not just the art welding, but also merge all of these panels together. It's just so much easier to use brush for this than to tie and make this all inside of our actual mesh. One thing I should mention is that these round bits over here, it is actually so much easier to simply do that inside of substance painter than to try and do it over here because you can imagine having round pieces dented in is a little bit more complicated. Now, normally, there are multiple ways that you can do this. So one of the ways that we can do this is we could make it as a geometry, and we would have then the geometry floating just above our hypol and then bake it down because when you are baking, it simply looks at a front facing image, which means that we can fake it and make it seem like it is actually inside of this mesh, even though it's not what we can do is we can go in substance paint, and we can simply grab brush and just paint in the height. So those are like a few of our options. However, for all of these other panels, I wanted to go ahead and I wanted to actually make those as geometry and just kind of stick them on here just because I think it will look a little bit nicer. So let's just go ahead and get started. And we want to get started by probably just grabbing a very simple panel and take it from there. So if we go and grab a box, let's go at your faces. At this point, actually, let's just isolate this one. So let's go ahead and grab a box and go to our side view. The first one that we are going to do is we are just going to go ahead and create a very simple base panel, and then we can create all of the other panels based on that. So if we go in here, what I want to do for the base panel is I just want to make sure that sec this. I want to make sure that it is the same size as our other panels. In terms of, like, the width over here. And at that point, what we can do is we can kind of, like, roughly take a guess in how we want things to be. So what I'm going to do is I'm just going to go ahead and I'm just going to almost, like, create a blockout. So, for example, we have one of these that's sitting over here. And later on, we will, of course, just like art a really strong bevel to this. For now, however, just move this down here. So let's see, we have a large one, small one, large one, bit of space left. I can see over here that this is actually already pretty good size probably because remember, there will be a little bit of space left, so we have this panel over here, this large panel over here, and then we will have a small panel. Sitting let me just check from here to roughly here. Yeah, that seems like pretty good spacing. So okay, for the first one, what we're going to do is we are basically just going to bevel it, round it, and then push part of this inside. So let's start by its easier if we just start by beveling it. So let's go ahead and just sect all of these pieces. JEF you'll see like this, we can kind of just like, push it towards a point we want. And this side will just be kind of, like, inserted. So go to do this. Also, have a look at your thickness. The thickness is pretty good. Yeah, I'm quite happy with the thickness, I would say. Just going to go to my side view and double check. Yeah, that should be fine. Okay. Now I'm just going to go ahead and weld all of the closed vertss together. You can see that we have some overlapping stuff. And these meshes can be quite messy. The reason they can be quite messy is because they are just going to be merged down and we are going to use dynamesh inside of sebush which will re mesh everything. So we don't actually need to, like, bother too much with that. Gonna grab this one, and then this I'm going to just push it in like this. Now also need to make sure that the other end, we don't accidentally have pieces sticking out of it. I think in general, just having this inside, what I will most likely want to try and do is actually not include the inside when we go sent this to Zbrush. Because if we need to include the inside, then we will get a lot of problems where we want to, like, edit this mesh and, like, very quickly, alter things and everything like that. So I will go over that in a little bit. First of all, we have this one.'s make sure it's like touching the side over here. Just go ahead and just add the hav There we go. Weld. Weld or vertss like these. So, we're mostly just focusing on panels that are sticking out and not so much the ones that are sticking in, but there aren't too many that stick in. Else, I would have spent a lot more focus on it, but for now, this should be fine. And also, remember what we're going to do in a brush, we are going to smooth all of this. So it can look a little bit harsh right now. That's fine. We're just going to go ahead and smooth that a little bit later on. Now we have this one over here. I want to probably move this a little bit up. I'm going to go ahead and add a double connect let's see. Let's start to connect somewhere here and then have another double connect. For this one, just go in and of push this in. It looks like this one is supposed to be see, a little bit more like this. Yeah, that works quite well. So like this side, shift, convert the edges. Let's cham for these quite a bit. Like this to the weld function. The nice thing also is that we can later on itty just apply this also to the other side. So we can just do a symmetry. So it's mostly this side, and the front side and the rest will just kind of be done using symmetry modifiers. Oh, that's a weird connection. Don't know why it does that, but it should be fine. Yeah, something like that. Of course, like I said, it will look really ugly right now, but it will become better. Don't worry. So let's see. We have this one. This will just be like an additional detail that we throw inside. This detail over here already exists. Now, we have the front over here. Um this is interesting, actually. So this detail over here, it looks like it's just dented in. But then over here, it kind of I guess it fades out towards the edges, and then it just comes in. So I guess this is just like a panel that's like this. This is like a small panel. And then over here, we kind of have what if we just do the same panel? Like, we have one panel here, this piece, and then another panel here, and then we'll just like, add some of those details because it's a bit of a weird one. So knowing that, I'm going to get started. By doing probably, let's see, a box. So I'm double checking. It goes somewhere like here. We can symmetry this, so I'm just going to move it just over the side. Going to push this in, move this out. Let's see. So roughly at this point, it will kind of like merge in. So if we just move this down so that we have enough space. And then over here, we want to go ahead and we want to make this nice round. Mm. I'm going to do this already. I feel like that makes more sense if it's already, like, a little bit merging merged in, sorry. So we got something like this. Let's move this up. Let's angle this that it kind of follows our shape. And then if we just go in and select these edges here. We can then chant for those. I do want a chaff, but I see that over here, I will need to move it all a bit in. I feel like a chaff something like this should be fine. And then we will, of course, smooth it inside of seabush. But let's push this in here. Then over here, maybe see if we can make it follow the shape a little bit better. I'm just careful. As you can see, I'm quite a bit more relaxed with just a general shape because I know that inside of sebush I can, like, add some small adjustments to things. You see? So we have something like this, and then we would want to go in and symmetry it like that. So that's one panel, and it's like a slightly higher panel because it is sitting just under here. Then we have the next panel, next panel is pretty much like this panel, but merged in around the corners. I have a feeling I would not be able to actually grab this panel. So instead, what might be easier in these instances is that we select, let's say, from oh, God, let's not do that from here, from our base body. I just want to see if I can add a double connect. Just use that for the first panel. That sucks. So we cannot really do that because of the way that the sites work. In that case, we're going to go in a slightly different route, which is that we will go in and we will basically just add a line and the line will start. It will be really difficult to even see. I'm just going to follow one here. I'm just going to follow one of the curves, and then I might need to, of course, alter this because I have no idea which one this is since we have so many overlapping geometry. But the general idea is that we basically create a line here. We then place this piece. Let's see. Somewhere here. And then what we can do is we can just go ahead and start with like a simple extrude and we'll take it from there. So first of all, piece like this. I was checking the scaling. So it'll blend in over here at this point. Let's see. Then we have like see if we would have one here and one here. Then we still have some space left for a small one. Yeah, so this should be roughly the right size. So we now have this extrude modifier. I can then go in. And the first thing I want to do is let's go in and let's push this in here. So these ones are kind of like clipping here. These ones kind of like clipping here. And then here we want to do the same where we have these pieces, and this one, we want to, of course, have it sticking out a little bit more like this. And then we will add a bevel. So have it sticking out, and then if we then merge this down in here, maybe have it sticking out a little bit less. The general idea is that we get something like this. This one can be pushed out over here, and it's Also merge all of this together. Give me 1 second. I need to, like, twine even this stuff out a little bit better just by moving it one by one. Okay. So we have these pieces. Then I'm also going to go ahead and I'm also going to flow this a little bit softer. Then later on I will just use the smooth tool to smooth this out. Let's say something like this. Let's go ahead and add another symmetry modifier, flip it have a look up here and just have it in the roughly same position. Okay, so we got that one. Now, this one has this little dent in between, which we do want to do. So I'm just going to go ahead and I'm going to temporarily get rid of that symmetry modifier in the center. I'm going to do a double connect. Here. Not a double connect. Here, push this in. Select it and give it a nice soft Jena. There we go. Let should do the trick. Yeah. Nice. So we have this one, and what I'm going to do is I'm just going to go ahead and also have this one at the bottom, and then all oops, all that we need is also one of these that's kind of like shifting in. But we can literally just steal this one, have it on the side, and then symmetry that also. So yeah, we are going to alter the design a little bit, but we're just doing it to make our lives a little bit more easy. So I can go down here and I can push it into the bottom, I forgot that it also slopes down. So first of all, let's just decide roughly where. Let's see, roughly around this point. And now let's go ahead and select this entire piece. Push it in. I feel like that over here on this side, we need to kind of push it out again. Oh, no, not as bad. Let's go here. And also have it over here like this. And finally, I just want to give it like a tiny push in here. Oh, okay. So we have these two pieces which are going to, like, nicely or smoothly blend in, and then they will have this shape sitting on side. And then what we want to do is we also want to go ahead and want to duplicate this again. But this time, all that we need is we convert at a ply. We need this up until roughly this point. Scale this. Do I want scale this flat? Mm. Yeah. I can even see, like, in real life oops in real life, that has a little bit of an angle. Of course, we can also double check. Yeah, so that should be fine. Maybe push it out a little bit more, and let's not forget that we are also going to later on, give it another bevel. Yeah, actually, we are going to give it another bevel. So that means that we need to bevel this one all the way around. So this one can go roughly to this point. And then it still needs to fade in here. But what we can do is we can kind of make it go this direction. I also want to make it a little bit shorter. And at that point, let's center our pivot and just do a symmetry modifier. Now, you can see that symmetry modifier. It's not perfect because of our rotation. However, we can actually rotate this a bit to give it a better rotation and, like, kind of go with the angle that we are looking for. See? So that's a nice thing about symmetry modifiers inside of trees Max that we can kind of do this. Convert that a ply, get rid of this one, and now just go in and see, so it flows in here. Let's select these two bevels, bridge them, select this one, push it back. And you guess it now we just need to alter the position a little bit more so that everything later on just nicely and smoothly push in. I know this looks really, really ugly right now, but trust me, trust the process. It will be resolved later on. So we now have a mesh like this, and we just want to kind of, like, put it in, like, a correct position, and then we can just symmetry it also on this side where we basically just try to get it to do roughly the same stuff over here. Okay. Awesome. So we have these pieces. Now, just to check if there is no other new pieces that we need to create. So we got this one, this one, this one, and then we have the two over here. Over here like, Yeah, with this, I'm going to see if I can maybe do something interesting later on inside of substance painter, with this, maybe have two lines or something like that. But in general, this is looking okay for what we need. Now, before I start duplicating these ones to the other side, one thing that we need to do is sebush requires mostly closed meshes that also do not have any engons. Now, because we are going to use dynamesh, which is basically a form of remshing your mesh, meaning that the geometry that you see here, it will not stay. Nice thing about it is that I can literally do this. Control A on our verte selection and press connect. Theoretically, now it is everything connected. So once we then also smooth everything down, it should be fine. What I just think of is just in case I'm going to do this on an added poly because that way, I can turn on and off this triangulation. You can go here, select everything, connect, make my own mistake again, select everything, connect here. Add a pole, select everything connect. So this way, it makes it a little bit easier for us than quickly go in and do a whole symmetry and stu. Let's flip this around and needs to be at a point where the top is merging in roughly here. Now, for these pieces, as you might remember, these are open at the back, which is pretty big no, no for this kind of stuff. Easy way that we can often solve this is we can simply add a shell modifier and just have it only on the inner amount like this. See? The goal is just as long as the font looks fine, and as long as you don't see any drastic clipping on the inside, that's already it. That's already fine enough. So we can copy this, go here, paste this, go here, paste this also. It's all about just having the mesh closed so that the systems inside the Sebush know what to do with it. Now, over here, there was one thing that I forgot to do, and that is that I want to go in here on the sides, give these a quick chamfer and make them nice and round. So now we do a shell, then we do an added poly, select everything connect. Here, also add the pulley, select everything connect, and once again, add the Polley, select everything connect. Now, these pieces we can pretty much also have at the back. However, what I'm going to do for the back just to make it a little bit different is I'm going to grab just one of these pieces over here. I'm going to rotate this like 90 degrees and I'm just going to have two large panels on the back that have the same patterns as we have over here. And they're just going to be like at this point. So it will literally just be this let's go somewhere like halfway or something. Here and push this in. And then we should be able to just also move this down. You know what? I'm going to move this one up, actually. Like this. And over here, I want to I want to keep the same scaling. So we are just on the edge of it being on the round bits, but that should be fine. Let's just push it in over here. And also, what I wanted to do is I wanted to move this one up a little bit. And again, place ski and then go here, move it down a little bit, and I'm just eyeballing it a little. I'm not going to go too strict to this. But there we go. Just two panels, and then what we can do is inside the paint or we can add some additional details on there also. But yeah, it will just be the back. It's not going to be so intense, most likely. You know what? I'm going to have one more detail. Let's go ahead and just add a double connect here like this. Delete this section. At a bridge here? Move this down. And the bridge here? This down, and then just also around this, just to kind of split up this one into two. There we go. And maybe I'm really picky. Sorry. Maybe move it down a bit more. There we go. Yeah, I think that looks a little bit more logical, especially where we like turn off the edge of faces. You can see that here, it just feels. I know, does it feel good? I'm just playing around with things. So like I said, we don't have reference for the back, so that's why I'm kind of messing around with things until I get something that I think will work well. Yeah, you know what? I think having separate panels instead of large panels looks just a little bit better. I do feel like we should probably just, like, stop here and not have it at the top. Yeah, I see? Yeah, that looks a little bit better. If we don't have some interesting painter details in there, that should work. Okay, awesome. So we now have this piece. Now the next thing that we're going to do is we are going to decide which pieces will we actually export to Zbrush. Now one thing to keep in mind is that with this piece, technically, it is still low poly. So what will happen is that when we actually add a bunch of polygons inside of brush, it might mess things up a little bit, as you can see over here. However, we should be able to resolve those problems. Thanks to dynamis. It just means that on the corners, we need to do some additional smoothing and stuff like that, and we need to just be careful that we don't go too far away from the low ply shape. But in general, what I want to do is all of these pieces over here on the top. They do not really need any type of sea brush work. Like, I know that there's some small damages on the edges, but we can easily do that kind of stuff inside of substance painter. So it looks like that we will only have this metal. And yeah, I don't know. Like, you can do the bottom metal if you want. If you don't like, for example, this edge over here, you could go in and you could, like, soften that out. Or what you can do is you can just be lazy like me and just add some dirt or something on top. So for now, I'm just going to focus on this piece. This piece, just like with everything else, we will need to well, first of all, we will need to probably get rid of the inside. So I'm just having a think about that. Well, we should not get rid of the inside, but we want to separate the inside. So what I'm going to do is Act, you know what? Let's just select the center here. Grow, grow, grow, grow, grow because we still need to make this stuff, how you say it? We need to make this stuff one solid piece. And also, I can see over here, Act before I do that. I can see over here that we have a small issue. With our shape. So what I will do is I will probably just select this shape, delete it, and then just copy the shell modifier from one of those. Copy, select, paste. There we go to make it solid, and then just add an added ply select everything and just connect. There we go. Okay, so anyway, the inside. I was going to grow it, but because I still want to make it a solid mesh, I'm just going to grow it up until probably this point. Ideally, Well, ideally, I want to grow it up until this point and then just, like, merge it down, but I'm a little bit worried that it might cause some issues, but this would be the easiest place to, like, have it. So let's go ahead and press detach over here. So this is going to be a separate model. Then we have this model. And for this model, just to prepare it, let's art and add a pool. Let's start by just can I select where am I can I select the border? There we go start by selecting the border and just do a cap boli like this. I know it will look super, super ugly, but we will later on cut that out again. So it's just for now because when we do a dynamesh, it will need to fill something up. And if we don't place a mesh here, Zbrush will try to fill it itself, and it is really bad with that often. So, okay, we have that stuff ready to go over here. Most likely also need to do Cali. Then select everything and connect. Now, we might need to go back and forth between Z brush and the rest if we notice that there are some issues. One of the issues that I can see arise is that maybe our cylinders are too low resolution, which means that in Z brush, when you dynamise it, it doesn't see smoothening. So you will be able to see the segments a lot better off your cylinders. Now, normally, we will go in and smooth it, but there might be some issues with that. So for now, let's just see what this looks like. So we have this is going to be our two Z brush. So let's just go ahead and copy this. Sent this to a new layer to underscore Z. Looks like that it still has some flipped faces, I think. Yeah, those look flipped. If I just flip them around, can that work? So down here, you have, like flip. Okay, I think they are not flipped. I think they are just a bit broken. But let you see what it does in ZBrush. You would be surprised like when you input something in ZBrush, how it can kind of recover in a way. So we have this. The only thing I need to do is I need to go in here, select everything and connect also these ones. That should be it. So at this point, let's just go ahead and just throw it inside of C brush, see if it works, yes or no, and then we'll take it from there. So we can go in our folder, source files, container exports to Z, Go ahead and export this, and I like to export it always as an OBJ. So here we go OBJ. Body underscore two Z, save, and then set the preset to Zbrush. Press okay. And now let's go ahead and open up ZBrush. Okay. So here we are inside of sea brush. I'm not going to go over too much in brush, just the things that we need to do because all we need to do is dynamesh, smooth and art welds. So first of all, I like to always go to my document and zoom it in a bit and lower down that intense gradient. I don't like that. Then we can go ahead and we can go into our Import tool, grab our body and import, and then see if it creates any errors. Looks like it did not create an error. That is good because that means that our edges and everything are working correctly, our triangulation. Now, here, Case not looking very good. So the general idea is to hopefully go in and use well, let's get rid of the red material over here and use over here in our geometry, our dynamesh to kind of solve this. Now, I'm not super confident that it will work first time, but let's go ahead and press dynamesh, and now you can see that it is too low resolution. So we need to set the resolution up quite a bit, let's say, 1,600, and try dynamesh again. Now when you dye in the mesh, at one point, the resolution will work, but then we have the second problem, which is that we can still see all of these phases over here. Now, there's multiple ways that you can fix it. So here you can see that it sells the phases. And then, generally, the idea was that we would go in and we would like smooth this out and you can see that when we smooth this out, it will kind of like, and I'm doing this, just as an example very quickly. But you can see that it will make a part of the actual mesh. See? I just kind of depends on how good this. Now, in general, the back is fine. Like you can see how easily we can smooth that out, and it just looks like one part of the mesh. Let's have a look. So over here, yeah, we are able to also smooth out the clders without too many issues. So I'm not too worried about that. I am quite worried about these edges over here. Here, see, it's just not able to really reach those etges. I can try to set my dynamesh higher. The problem is mostly that the higher your dynamesh, the more difficult it's going to be to also smooth things again. So like over here, you can already see that we are having some issues. Now, you can at this point, set your draw size lower and you can go in here and just do some more careful smoothing. But over here, see, that smoothing is really good. That we can do this kind of stuff. So I want to find the balance between still being able to get rid of all of these segments, but also not destroying my edges. Let's go ahead and have a look. If I go down, I need to go down until just before we did the dynamesh, and I just can go up here into my history. There we go. Okay, so we have these edges over here. I'm going to go ahead and it was like 1,600. Let's go for like 2000 and see. It just needs to somewhat resemble the edges still. I'm not too super picky about it, but it still needs something. Okay. If I would, like, smooth this out, maybe I can go in and I can so I don't have my drawing tablets right now, but just, like, see. Uh, I forgot how to. Yeah, I don't have my draw habit. I'm just having to think if I can, like, deal with this kind of issue. Yeah, we should be able to clean up. If that is the only issue, it should be fine. Just checking if there's no other issue, because especially like from a distance, you won't really notice it as much. I think that should be fine. So what I'm going to do is we are now at 2000 resolution Yeah, let's leave it here for now and we can go ahead and clean up that line in the next chapter. So in next chapter, what we're going to do is we are actually going to, first of all, do an entire smoothening pass on our model so that everything just kind of merges together and it looks all nice and smooth. And once that is done, what we can do is we can start with the actual welding. So let's go ahead and continue with this in the next chapter. 23. 22 Turning Our Final Container Into High Poly Part4: Okay, so now what we were going to do is we were going to go ahead and soften all of this out to make these panels. However, as I mentioned in the last chapter, I'm just not happy with the level of softness. I think also over here, like, yes, we can soften this out as you can see, but it's just not working as well as I was hoping for. So I wouldn't say it's a quick fix, like it takes longer, but it's the right fix, which would be that we would, for example, go over here, and we would select the container that we have over here, temporarily get rid of the added pony. And just for this container, we want to go ahead and actually apply our turbo smooth modifiers to this. So we would go in, apply our turbomoot modifiers. And then, of course, as you might have guessed, at that point, we would need to go in and we would need to, like, add some supporting loops wherever needed. So we would go in here. And for example, I can see that over here, there was like a supporting loop that it needs. And for example, like over here, another one. And like that, you can see that and it doesn't have to be perfect. It just has to give the general smoothening. This will also work well when we have like over here these cylinders. So that's mostly what we are going to be doing. I'm going to very quickly kick in the Tinbs because I don't know how time consuming it is. Most of these are just going to be like these little spot loops. But as you can see over here, the spot loops don't always work very well. Now, like this. So I might need to go in and just do some more manual work just to get this working well. But it's basically going to be the exact same as we've done with the other pieces, and then we're just going to re export it. So let me just quickly go ahead and do that right now. I I I Okay, so we are back. Now what we have is we have a high pole model over here that you can see that doesn't have dynamesh, and I just separate it out with our low poly models and I already added, why can I not select it? 1 second, for some reason, doesn't want to select. Here we have a low poly moodel and I already led a dynamesh, and I just did that to up the polygon count a bit. Now, next thing that we need to do is we need to get these two models merged together so that we can actually do the whole point of this part of the toil. I'm just going to go ahead and grab my top one and I'm just going to press merge down over here so that it becomes one part. Now the reason why we did it this way is so that now in our dynamesh, we can set our dynamesh really high without having any issues over here like our smoothing when we actually go over it and smooth everything. And in turn, we also don't have to spend as much time smoothing out some of these areas. Here, there's a few areas that we need to smoothen out. That's why I did it really quick inside of trees Max to showcase it to you. But in general, we don't have to do too much. So now if we just go to dynamesh, let's start with the resolution. Basically, we need the resolution high enough to keep these lines over here. Then we are like a good resolution. First of all, I'm just going to do a saves. And I already made a save, so I'm just going to save it over here. Let's see. Let's go for 1,700 to get started with and just see if it gets into the right direction. This is quite slow, so I will actually probably pass the video until this is done. Okay, so that's not quite there yet. So let's undo that, and let's go for something like quite high 2,500. Getting close, sir, let's have a look. Yeah, we are really close. I feel like these edges is really giving us quite a bit of problems, which is quite sad. Let's go for something like 3,000 and see if that seems to work. Sometimes we just have these issues that the edges, they are just too small to really be able to handle with this. Now, there are some ways that you can, like, solve this by basically splitting off the edges from the rest, but I rather keep it as one math because it will just make everything a bit more simpler when we start adding our welds and smoothing and all that kind of stuff. Yeah, here, that is quite sad that it just doesn't understand what to do in those areas. Yeah, you can even see that Oh, if I try to smooth it out. Yeah, we pretty much lose our edge if we try to smooth this. Mm tricky, tricky, tricky. In that case, let's try a different trick. So what you can do is if you indo this. Now, dynamesh is actually based on the scale of your model. This means that if we would scale up our model, our resolution has to be lower to achieve the same resolution. So right now we are managing to get up to 9 million polygons, but for something like this, we can actually go quite a bit higher. What I tend to do for this quite easy is I tend to just go down to my deformation. And then in my size, you can see that my size is set to the X, Y, and Z. I can just go in here and set the size not one. You know that, set the size to 100. So now it is double. Yeah, now it's double the resolution, and that means that now if we would go back into our dynamesh, set our resolution really high, it should be able to handle much higher resolutions and much higher polygon counts. Looks like we're still not quite high enough, so let's go back into our defamation. One, two, 300. Let's just keep that in mind that we did 300. Oh, damn. Make sure to do that before. You add your resolution. You know what, let's just go 400. So we are now four times bigger. Let's go now. Once again, I'm just going to set this all the way high. I'm also going to set my blurring probably a little bit down to zero just to avoid any type of, like, weird blurring, since we will just do that by hand anyway. And let's see if something like this hopefully works. Okay, not what I expected. So the Polon count is actually lower. However, it does manage to keep the line intact a little bit better. If I then subdivide this. Yeah, so it does manage to keep the line intact better. I think that's actually good enough to keep the line intact like this. So I'm just going to go ahead and we did 400, so we need to go back to defamation. So lucky accident, not exactly what I meant, but okay, one, two, three, four, and if we then just press F, and I'm going to go ahead and go back into my drawing tablet. So now what we can do, basically, is we can go mostly to these areas, and you can see that we can just hold shift and we can smooth this out. You can make the brush a bit stronger or a bit larger if you want to make the smoothening even stronger. But, we want to be careful because if we don't want to do that, for example. So basically, that's now going to be the general goal for this is we are going to go past all these points. And just smooth this all out, which basically we'll just merge it all nicely together. Especially on like here on the corners, just go over it a bunch of times. Now, I'm using my drawing tab. If I would use my pencil, my mouse, you can see that the smoothing is even stronger because then the smoothing automatically becomes 100. So that's just something that you can keep in mind that if you will need to make the smoothing really strong, really fast, just use your mouse and heres. Now you can see that with your mouse, you can kind of go over it. So once again, this is a little bit time consuming. On these larger parts, it's quite easy. You just want to make this a little bit larger and just kind of like keep smoothing it until it nicely merges together like this. So that's looking really nice. On the smaller parts like we have over here, you want to be a little bit more careful with making your brush a little bit lower in size. You can see that also there isn't that much resolution in these smaller parts. However, when we actually start welding, we will, of course, up the resolution. But like over here, what you can do is you can definitely smooth out these areas. And then over here, you also want to, of course, smooth out all of this stuff. So I know that I've been doing it a lot lately, but I'm just going to go ahead and kick in another time lapse where we will just go in and we will, nicely smooth all of these areas out until everything just feels like it is part of one solid mesh. So let's go ahead and continue with that in our time lap. 24. 23 Turning Our Final Container Into High Poly Part5: Okay, so the smoothing is now done, and as you can see, everything now kind of feels like it's part of one solid mesh. Now, what we're going to do next is we are going to work on our welding. So for welding, first of all, I need to when we go up close, you can see that the polygon count is actually not that high. So I need to go into my geometry and I need to subdivide it once, just like even more polygons to this. So we are now 34 million polygons, but should still be manageable. Next thing is that we want to go ahead and we want to get some welding brushes. Now, this is something that you will often have to pay for, but you get pretty good quality. So if you go, for example, to the Unreal marketplace and just type in welding, you can see over here that we have a bunch of welding brushes. I will be using this one, the welding brush is 2.0 from Potter Brit. I hope I probably don't say that correctly. But you can see here that there's a couple of welding brushes that you can use, and funny enough, there's also tutorials of here. Not sure why. Here's another welding brush, another util vase, another welding brush. So yeah, there's like a bunch of stuff in here that you can use. And they are just basically Z brush brushes. Often they only cost like a few dollars. And I will show you why because we can spend a lot of time making our own brush or what we can do. So we just go file and load in the brush. These will not be included in the tutorial, unfortunately, and the reason for that is because I don't own the rights to them. But if I go ahead and open them up, and what I then also like to do is I like to go down here to my layers, where are you layers, and I like to press the new layer and it will then record a layer. What will happen with that is that when I paint something like over here, you can see I paint in some welding, it will stay linked to this layer. I can make this welding less strong, as you can see over here. Or what I can do is I can just literally delete just the welding so that we don't have any type of overlapping and we still work quite non destructive. I basically create a layer. Now, next stop is going to be that I want to sadly, it does not import the brushes all. It's weird. You can multi select brushes in Z brush, but it does not import the brushes. So I'm just going to go ahead them one by one because I'm not sure yet which one I want to use. But basically, once that is done, I will show you just how to do some basic welding, and then we will mostly place the welding around here, around these spots, a bit over here. And just like in general, if we find any other spots that it might look cool, we will add some nice welding. Doing it all in this geometry instead of doing it in painter will actually enhance the quality quite a bit. So it is definitely something that I find is often worth the effort. Here. It looks like quite messy welding. So if you go over here, and, for example, paint, you can see that we have like a bunch of different welding brushes. We have this one, welding four, which has some little specs around, but I don't think I want that. Welding five. Welding five is a bit too perfect. Welding two, of course, you can just pick whichever one you want and welding one. I think actually the welding, was it welding four that I liked? No, was it welding three. Feel like welding three would be quite well, three or one. Now let's go for three. So we basically grab welding three, and then all we need to do is just where we want to have the welding. We can go in and we can paste in our welding over here. You can go in and you can also just make it go all the way around. We are probably going to make it go all the way around. Of course, in real life, it looks a little bit different, but we are just working within our means. So I would, for example, go over here, and I would like weld this all the way around over here because that is also a little bit more readable and go on the inside. And also weld it over here. Same stuff can be done over here. We can go in here and just on the corner. And the harder you press, the more your welds will be visible. And you can see that now from a distance, we have some pretty nice looking welds. Then what we can do later on is we can also go in and we can, for example, soften the welds in some spots to make them a little bit more broken up. But that's something that I want to not do right now. So I already regret doing that because undoing is a little bit slow when we work with such a high resolution mesh. But over here, you can go over here and you can also add welding here. And this is also why we added all of these bevels here, because if we would do welding on like a really sharp edge, it just doesn't look as good compared to when we go and just place it nicely down like a soft edge. This edge is not the best. Maybe for this one, we want to try something that's a little bit more different. That one is too perfect. Maybe number one. Look at it from this and I'm just looking at my reference over here. So it looks like we want to have one, make sure that your brush is a bit smaller. One here, one here. So we can have multiple and then just shift to soften out the welds near the end. You can also try to hold alt. Oh, wa, that is really cutting it in. Never mind. I'm just a little bit conflicted about how strong the weld needs to be. I think what I will do is I will go over it once more to make the weld extra strong. And then I'm just going to, like, hold Shift and kind of like soften it out a tiny bit. There we go. See? Yeah, that looks a lot better how it is now connected. So just like that, just wherever we want to have these connection points. We can go in here. Over here, I'm just holding shift to kind of soften this out and we can start adding our welds. Now, as you might have seen in our smoothening part is that I have symmetry turned on. So that will just save me a little bit of time because this model was already having perfect symmetry anyway. So it just allows me to go and save some time by going around here. And then over here, it should pretty much be in the exact same location as you can see. So just nice time save. But in general, let's go in here. And for these ones, I'm just going to in some places, just like kind of a whole shift. Se to soften it out. I know, you might think, like so much effort for those few welds, but we also did it for these panels, of course. So it was like a win win. So let's have a look. We got this welding done, this one done, and we got this over here welded. I quite like that here on the site. It's actually also welded, so we might Oops do that. We might want to go in here and just add some more messy welds like maybe here, see, I'm like, bulging it out a little bit and not placing it everywhere, but just to kind of give the impression, like, Hey, there was, like, welding and everything going on. And then, of course, in our texture, we will go ahead and we will work to enhance this a little bit more like some small welds here. Also, just like on the corner. There we go. Some welding there. I think that's already it. I don't think there's much more that we need to do. We got the welding on both sides. Awesome. Okay, cool. So in the end, I didn't have to time naps it, so it was not as much work as expected. At this point, I'm going to go ahead and I'm going to save my son. And I would say that now the body hi poly is pretty much done. Let me just move my tablet out of the way. The next thing that we're going to do is because right now we have 34 million polygons, that's not really manageable. So what we want to do is we want to just, like, optimize it a little bit, and then we can bring it back inside of threes Max. So first of all, over here, I like to go ahead and press bake once I'm done to just bake this layer down. And basically to optimize it, we are just going to go to our plug ins. You can click and drag it over here. And then in our decimation master, you want to press preprocess current. It's going to take a while with a 34 million polygon. Well, it's not really polygons, but 34 million mesh. So I will press that, and then what we can do is we can just optimize our mesh until it becomes a couple million. So we'll go over this. Once I press this, I'm going to pass the video because it's going to take a while. Okay, so the pre processing is now done. Because this is so high polyality just going to set the decimation to one, and that will basically mean that it will only leave 1% left of this amount. And then what we can do is we can just press decimate G. So once again, go to pass the video because once again, this can take 10 minutes, 15 minutes. I don't know how long, so we'll see. Okay, it took a few seconds. I think Se Brush improved a little bit on that. Now, what I can see over here is that, believe it or not, we got too low. So I'm just going to go ahead and undo this, and I'm going to go for 10%, so 3.4 million and then decimate. And now it takes longer than before. There we go. 3.4 million. I think that should do the trick. So finally, because yeah, this was definitely one of those pieces where we had or just in general, like this model has turned out a little bit more complicated than expected. But I still wanted to just make a good model. You can definitely note that I'm no longer Well, I am a prop artist, but, like, I no longer make that many props because I'm now in a lead position. So you definitely notice that I'm a little bit out of touch. So I do apologize for that. But the end result should still be pretty decent, if I know myself. Not amazing but decent. M. Body underscore two M, and press Okay. And what I also like to do is, I like to make sure that I don't close C brush just yet until I've actually done all the testing. So over here we have the Z part. Now what I can do is I can just go ahead and go to my container hypol so here we had our old hypol and this is all saved inside of that other layer. For now, we can just get rid of it, and then we only have this center here left. Now if we just make sure that this layer is turned on, we can go ahead and we can import. Where are you? Import the new hypol let's import it as an tipple and just press Okay. Let's hope that goes well. Like Trees Mac should be able to handle this amount of polygon, so I'm not too worried about that. I just want to see the whole picture, pretty much. Well, with only one wheel, but I just kind of like need to get a sense for things. So 67 million faces and 3.4 million vertss in the end. Give it the second. Like loading in the actual model is what takes the longest. And there we go. Okay, so we have our actual model. Now you can see that now we can move around again. If I'm just going to go ahead and unhide, oh, wait. Cancel. Now one of the tricky things is that, of course, we have over here, See, the one in the base I'm not too worried about because you cannot even see that one. Like, I made it that way. However, this one, of course, we need to get rid of. Now, ideally, what I wanted to do is I wanted to just go ahead and do a phase select and basically select the flat faces. If I select by angle, set the angle to five, I hope that I can click and that I can just press delete. Am I lucky enough that it will just register correctly? Give the second, deleting out of such a mesh takes quite a while. I think I am. So now, Almost. Here, as you can see over here, like, I didn't make it perfect. What I'm going to do is I'm going to Undo D this a little bit. I guess what happened is when we did our dynamesh, it's kind of like here see where we did our dynamesh, how you say it just need to grow this. I added this little smoothening. But if I just grow this by tree, now over here, we also have a few messy areas, but I believe that that should not really matter. We should not be able to really see that when we actually bake it down from high to low poli and stuff like that because there will be no data there. So if I just go ahead and do this and else I can always go in and clean it up a little bit later. So for now, if I just go ahead the right click on IDL we now have our mesh over here. We have our nice welding and everything also ready to go. So I would say that this is a pretty decent point to end this chapter. Now, what we're going to do next chapter is we are going to get started by turning our basically optimizing our low poly a little bit more so that it is a little bit more clean, and after that, we will do our UVs. For our low pol, that's just going to be time laps to actually make it more low poli again because we've already gone over this. However, if you just want to have a proper presentation, what you can do is you can just go ahead and you can open up your material editor, select all of your hi poly materials, and give it one single material. And now you can see here that reads Wally nice, it just looks like a high quality container, even though, of course, it's way too high poly, but it's a really decent start. So at this point, we can go back to our low poly, and in our next chapter, we will just do some final optimizations, just to get rid of some of the more messy geometry and in general, make everything work well. So let's go ahead and continue with this in our next chapter. 25. 24 Preparing Our Final Low Poly Timelapse: Oh. 26. 25 Creating Our Uv's Part1: Okay, so we now have a low poly and our high pool over here prepared. So the next thing that I want to do is I, of course, want to go ahead and create my UVs. Now, for this, I will be using Rhythm UV just because I prefer it. It's a bit easier to use Rhythm UV, and it also packs things a little bit better. So for that, of course, you can use whatever UV program you want. You can use Trees Max in which case, I recommend that you use text tools over here, which is an additional plugin that will make your life a whole lot easier, or you can use Blender or Maya, whatever you want. I will show you just a general overview as always, and then I will kick in the Taps because once again, UVs are super time consuming to create. So in any case, here we have just a low poly just all the essential pieces, let's go ahead and just export those. I will go ahead and make a folder that I will call UV called container as normal FBX file, and let's press Okay. Awesome. Now let's go ahead and load up rhythm UV. Here we go. File load. We don't need to load with UVs because we don't have any UVs yet. The nice thing also about rhythm is that first of all, it will show you if there's any really obvious problems with your mesh. It will show you green lines or blue lines, you can see over here. Although this one is not actually problem because this is just because there's nothing behind here. But in general, if you have some messy topology, it will tell you, over here, see. Over here, it shows that these vertices are a little bit messy, but I don't think they should actually cause a problem. It's also been a while since I've actually used RSM V because like I said, I don't do that large amount of molding anymore, so I need to have a little bit of a warm up. But just to give you a general overview. So with RSM V, what we can do is we can, for example, go down here to Element Select and select an object. Then we can go ahead and press isolate. Now, you can just press I if you want, just the hot key. Now, the cool thing about RsmUV is that it is often quite fast to just iterate with it. Let's say that I want to place a quick seam over here, I can just double click and press C to place a seam. Also, one of the things that I really love about RsmVe is that it's amazing when it comes to packing your UVs. You can pretty much do like an automatic pack. I can just press C here, C here, and then this will basically become one piece. And then I can go, for example, over here on the bottom, C again because it's a cylinder, so we need to break it up. And now we have these three pieces over here. At that point, you can just go up here and press unfold. And if you want, you can already go and set some settings. I like to often set my margin and my padding to two. And then when you have this, you can go ahead and press here scale. What it will do is it Well, often it doesn't do much because Rhythm V does automatically, but what it will do is it will properly scale your UV islands, and then you can press back and you can see how it nicely just packs everything. Over here, you can also see the warping. When something is red, you can see down here in distortion and you have a few other modes like you have textildnsity mode, topology mode over here. Size mode, for example, there's a bunch of them, I just tend to go with distortion, and you can see that it was not able to smooth this out enough. So in those cases, what would we do? See, here, and then of course, you always want to place your seams in a place where they are the least visible. Now, with these cases, 1 second, check here. In these cases, of course, the bottom will be the least visible, so that when we look at it like this, you can see that we have almost no seams. At that point, you can just go ahead and you can select these pieces, do another unfold. And of course, the packing you would do later on, but now you can see that now we have instantly our mesh packed. There's a tiny bit of red here, but I'm actually fine with that. I do not want to have as many seams, so that just makes it a little bit easier. Now, another cool trick, if we, for example, go to this one is if sometimes you have that you cannot really double click. Let's say that I want to go let's see. Let's say that I want to make a seam from the inside. I can actually go here. I can hold Shift and what it will do. Oh, I kind of forgot to add or to merge these pieces over here together, but that's something I can do later on. In any case, if I have a loop selected here, I can hold Shift, and it will basically find the best part. In which case, you can just keep holding shift and you can just keep looping around like this, and I like to do it in, like, little steps. Oh. You see, just like nice little steps. Oh, over here, we can see that we have a little bug. So that's a little bit unfortunate. When you have these bugs, it's up to you if it's not as bad yet because I don't like to go back and forth between rhythm UV too often. Normally I spot these bugs, but this case, I was just I didn't what you can do is you can just like, kind of leave them here, and then later on, you can just go in TSMx and kind of, like, just clean things up a little bit. But in any case, just to show you. So of course, when it's a time lapse, later on, I can just take my time. But I can go, for example, around here, press C. And now you can see that because there is a seam all the way around here, this insight will become one piece, this over here will become one piece. And now if I also just go in and do the same over here at the top, then all that we have to do is we just have to unwrap and it will automatically turn everything into a nice quick unwrap. So we have this one. Now this insight will become one piece. So if I now go and just go ahead and select everything and just press Unfold. I like to often just press the Back button just so that I can see it. You can see that now it has unfolded. Now, over here, we have a small problem, but I can just fix that by pressing C here. Let's try to do another unfold. See? That's quite a different unfold. This one, I'm surprised how, like, it's a weird shape, but it does always unfold in the best possible way in order for you to work with this. So here, just like pack it like that. There we go. So this one is now also unfolded. If you want to see your checker box, you can always go up here and just press checker, by the way, just to, like, double check. But often you don't really need that too much. So we can show and that's pretty much it. So we will pretty much just keep doing this for the entire flow. And once everything is done, what we'll do is then we will just simply pack it together. But we are using automatic packing, using the settings that I already showed you, margin two, bedding two, press scale, and press pack. The only cool thing is that over here, you have your iterations. If you set this higher, it will basically recalculate your packing more times in order to make sure that it's the absolute best possible packing. Accuracy over here, you can also go for higher and ultra, we might play around with that a little bit. So let's go ahead and at this point, kick in the time laps in the next chapter, and we'll start with the UVNmpping of our entire model. 27. 26 Creating Our Uv's Part2 Timelapse: Oh. 28. 27 Preparing Our Asset For Baking: Okay, so we have now finished our UV, our low poly, and our high pool, which means that the next step is going to be baking. So as you can see over here, I just re imported my UV inside of trees Max. Now, remember how in a document, I set the balance between automatic packing and that you sacrifice a little bit of resolution. That's what I mean. Like, over here, you can see that we have still quite a bit of space left, but I did an automatic packing, and it did a really good job. And for me, this is good enough for this asset to just quickly push it through to the next stage, because in production, you often don't have time to, like, manually pack everything together. The only thing that I did to help it out a little bit is for the insights over here, I made them a little bit smaller and I made some of these little bolts, a little bit bigger just so that we can actually have some detail on it. For the rest, I then just did an automatic packing and told it not to change those scalings, and this is what we have. Also, if you're interested to see, this is the packing for sum V. I I would go ahead and do this in three years max, most of the time the packing is a little bit worse. If I go pack here, see. So this is the packing in three is Max with all of the padding. You can see that we have a lot more space left here and there, and everything is just less optimized. You have a Uo, see? Everything is just better packed in Rsm v. And that's one of the reasons, again, why I like to use rhythm. But anyway, in any case, sorry, that's what I mean. What we're going to do now is we are going to do our baking. Now, I am someone that's a little bit old school, and I like to use the exploding technique when it comes to baking. This basically means that I move the assets temporarily out away from each other. Oh, sorry, this one tix. I temporarily move the assets away from each other so that we can do the baking, and then later on, I just place them back into position. I know that you have things like for example, we use marmoset. You have things like baking groups, even in painter, you have it. But in order for those to work, you have to name all of your assets exactly the same and do specific naming structures, and I'm someone that likes to keep all of their assets just separate. So for me, just literally faster to do it with the exploding technique. Just to keep in mind that you can bake however which way you want. I'm going to go here, and first of all, I need to just fix some stuff. Over here, we have once we import this piece over here. I think what we need to do is reset the X form. And it's try smooth. Sometimes the smoothing groups for some reason, they break. Often doing a weighted normals on it can seem to fix things. And then if you press U smoothing groups over here, it often does fix the problem. Over here, if we just do another weighted normals on this one, but this all looks fine. This one also needs weighted normals. Oh, sorry, and then use smoothing groups. I guess the problem is with the pieces that are not using weighted normals. So they are just using default smoothening. I actually don't have this very often, so I just need to check. So this one, RC, for some reason, they're completely broken. So I then tend to just throw on the weighted normals. And that often just fixes the broken smoothening. Same over here, weighted normals. So this one is a little bit trickier because this one it's broken even more. So what you can also do is you can also just press bi angle, and then it will smooth by the angle. Set the angle a bit lower to like, no, sorry, probably want to stick with 30 over here. There we go. It's just one of those things where weighted normals does a hard override on your normals, which basically makes it which fixes it compared to using reset X form and stuff like that. There are some other ways that you can really force it, but often this is just more than enough. Okay. I think that is done. So the next thing that I want to do is I want to apply one material to my entire low poly model so that we don't have any type of mismatches. So let's open up our material browser, and let's just go ahead and call this's go to call the container. There we go. So that's low poly container. So at this point, I assume that the low poly is pretty much done. What I then want to do is I want to go ahead and I want to select it, copy it and throw this into a new layer, which I will call container underscore final, for example. So doing that this way, we always have our final container, which we will later on set up. But first, we want to make sure that the baking is correct. And now we have our low poly and we have a high pool. As I said, like the exploding technique, I would, for example, grab my opolan hi pole. Give the second to load. Here we go. And then for the pieces that I, for example, do not want to have clipping with the rest. So let's say that we have here, all of these pieces. I would not want to have this clipping with the base because we are going to place this one all over the place. So then I just simply just move it out of the way like this. I think one thing I probably also want to do is I also want to grab this and I want to move it up. The reason for that is because we are going to rotate this wheel, so I don't want to have ambient occlusion on these part because we might be able to see them. So just like that, you can think about all of the ways that you want to place this. I'm totally fine with having these pieces here. I'm also fine having the bolts. I'm not fine having this one over here. The reason for that is because we are going to also have them here and on the other side, and else we would have nice occlusion here, but nowhere else. So we will just like fix the occlusion in some other part. So this one we can also move out of the way. Now, next, of course, what we have is we have our lid. In this case, it might be easier if I literally just grab the entire container and move that. There we go. Because if we would have the lid on top, then this would just be black occlusion. That's also not something that I would want. So we have our lid over here, which is now fine. We have our metal is fine. I'm just going to go ahead and grab this piece. And move it like this. And everything else should pretty much be fine in terms of the baking. So of course, at this point, we still have our final mesh over here, which uses the same UV, so nothing will really change in that aspect. Now at this point, I can grab my low poly file export export selection. And we're going to go ahead and make a faller called bakes. Container on the scopoli and set it as an FBX. And let's press Okay. Now, sometimes with some meshes, I also like to actually triangulate them before I export it. It kind of depends. If you know that you have endgns, I recommend that before baking, you triangulate your model. The reason I recommend doing that is because when you import a model in marmoset, compared to wheel engine, compared to painter, they all have their own triangulation systems. If you have an end gun or just in general, they will triangulate your model. And sometimes what can happen is if they triangulate different in marmoset compared to painter, you get different smoothening problems. So when you actually use your non map, you would get a smoothing errors in that. But that's just a quick little tip. In our case, because I want to make probably just some Y frame renders or something like that, I'm going to keep it like this and just see if it goes wrong or if it goes white. If it goes wrong, I triangulate it. If it goes white, I leave it. Now over here we have our hypol Wi your hypol something that's very important is in three years, Max, you cannot export with isolate display turned on. It will basically mess up your geometry. So you would need to go in here. Oh, and this one, yeah, you would need to go in here and basically turn off isolate display. Now there is a plug in which you can download, which is called zop Modifiers, ZR B, basically. And what this allows us to do is it allows us to multi select and turn off our Turbo smooth because right now, if we would try to do that, if we would try to multi select something, you can see that it doesn't actually show the same turbo smooth. So that's why we are doing this one by one. But we are doing it one by one mostly because it is not a very like there aren't that many meshes in here. So basically, just going to go through the list just quickly turn it off. But definitely, if you have 100 meshes, which I've had before, then use the orb modifier script, which you can just download and that one, once this out saving. That's one will allow you to basically turn off isolate display on all turbo modifiers in your entire scene, so to speak. But this is now done. So we got this one. Wanted to double check the insight over here. I feel like adding a turbo smooth in here would make sense. Maybe we do need to go then in here and just collapse this one. Collapse this one. Like I remember doing the same for the low polylyT one and this one. There we go. Now, tail smooth. Yeah, just make it a bit better. Awesome. So we now have this file export export selection. I'm going to make this HP, safe and okay. Awesome. So now our model is hopefully ready for baking. So what we're going to do next chapter is we are going to bake it, fix any baking arrows that we might have, but I don't expect too many arrows. And once that is done, we can finally get started with the texturing process. 29. 28 Baking Our Asset: Okay. So in this chapter, we are going to get started with the baking. Now, I use Mm set for the baking, but you can totally do this in substance painter or whatever other tool you might want to use. So let's get started by importing our low pool and high pool. Now, my mom set se might look a little bit different. This is because this is just my default scene when I open things up. It just has a few extra lights. But that does nothing for the baking. We are not actually going for something visual. While that is loading up, it's going textis. Oh, perfect. We already have a Bakes folder. And at this point, it's loaded up. So this is what we have right now. Your miss might be, of course, a bit slow because we have quite a high ply model. But what you want to do is you want to press little bread icon up here. Go, first of all, to low and set the outer baking to none, because if you accidentally leave that on, it will already try to bake without us having even set any settings. We can then go ahead and drag low into low high into high. I'm just going to turn off some of my lights over here. There we go. That's a bit better so that I can properly see everything. Now the next thing that I'm going to do is I'm going to set some settings. So first of all, up here, we want to set our bake output where we want to save our images. I like to often save them as PNG. It's just force of habit. You can do TGA. The reason I do PNG is I very often need to bake at 16 bits. But honestly, use whatever you want. Um, container. Save samples. I like to go for 16 bits to get started with. Oh, we can keep eight bits for something like this because we don't use a height map, but it's just such a force of habit for me to set it to, like, 16. I do like to always bake in eight K, and then I basically just lower it down. But for now, this is fine. Let's go to configure, and we want to have normals, normals object, position, curvature, thickness, and ambient seclusion. And these mostly the ones that we are interested in is normals and ambient seclusion. All the other ones are just here so that when we import it inside of substance painter, we have some additional maps for our generators. But for the rest, everything should be fine. Now, what I'd like to also do is, I like to first of all, only turn on the normals over here. Now the next one, which is the most important one is that we need to set our cage. Our cage is basically, as you can see a shell that goes from our low poly to our high ple. The goal for you is to have your cage cover your entire hypol but only barely. So as you can see, when you turn on a hypol, you can see that over here, the cage is not covering the hypol. What happens is when it's not covering it, it will not capture anything that's outside of the cage. So we want to see if we can make this a little bit bigger. However, we can also do manual painting. If we feel that when we have made it like, for example, this large over here, Wow, it's really slow. I'm not used to being so slow. We probably won't want to make it too much larger because what happens when we make it even larger, cages, as you can see over here, they start to intersect with each other too much, and I don't want to do that, like a lot. So what I tend to do is I tend to just, like, set it so that for the majority of the model, it works totally fine, like over here, you can see that it seems to work totally fine. And we will, of course, check if there's any baking errors or something like that. And then what you can do is you can go over here into paint offset, and you can paint in your offset a little bit. So if we go ahead and we need to press control, I believe, Mm. I have a feeling that we don't have enough geometry to really paint, like, a proper offset. You can see that if I paint it down here, it will push it out. But I guess what is happening is that we have not enough jum tree to actually paint like proper offsets here, which means that we just need to add a few lines. Yeah, see? Because I do want to just cover the entire cage. I do know that when you paint the offset, even when it doesn't visually show you in the cage, it sometimes does show you like the actual bake. But it's probably better if you just like art a few additional lines. So if you just go ahead and go into Tres Max, scrab a lop Oli over here. And all I want to do is I want to go ahead and probably select this stuff. And and just add four lines. And we only will need to do this in low poly. It doesn't it UVs. It's only there for our low poly. And now we, of course, need to go ahead and do another weight normals and then just export it again. And let's go here, and as you can see, it will just automatically update. Now if we go ahead and paint the offsets again, I'm going to set the flow a little bit sharp stronger. Oh, and here you can see that now we are able to paint, not as much. Hmm. Et's have a look because it's not as strong as I was hoping for. If it is not working exactly the way that we want, then what we can do is we can always go in and we can always just test out our baking to make sure because sometimes it's just a visual thing that it doesn't actually visually show that the cage is baking out. Like here, it does show quite well. If I don't go here, see, over here, this is what I more expect But you can also see that if, for example, zoom out, you can see that when I zoom out, the cage kind of becomes a little bit wide or it actually does cover it. So that's why it's a little bit like a tricky thing to know because it's not always the most accurate. If I would zoom out like this. And then over here, I need to be a bit careful because I don't want to, like, zoom out the site too much. But we can literally just bake and see. That's where the quick bake comes in and it's quite handy. What the quick bake will do is it allows us to basically very quickly, bake while we are painting so that we know this is correct. Although, to be honest, I didn't expect it to be complaining this much. There is, of course, another way that we can fix this, which is separating just like the base from the rest, but that wouldn't really work because we have such a large base, as you can see over here that most likely it would just push out the cage too much that we can just as well have the cage everywhere. So anyway, I'm just going to hide my hypol. It's okay to hide your hi poly. Like will still bake and everything like that. And what I'm going to do is I'm just going to go ahead and press bake at this point. And the first time baking takes a little bit longer because it needs to load in the hypol. Oh, fair enough. That's already quite quick. And then I can press the P button to go ahead and press the preview. Now, as you can see over here in preview, see, it is cutting it off. So that's definitely not what we want. We want to have it a little bit more. Now, if we just go ahead to go back to the height, another thing that we can try is we can try to push this out until it gets to the point where it is overlapping everything like this. And then what we can do is we can basically bake. And if we see an error, instead of pushing it out, we can simply push our cage in whenever we notice any type of errors. So that's another way because just like we said before with the baking, we can also push things in. Like over here, you can see that over here. Yeah, we might have some arrows, but let's just see. So let's go ahead and turn off the height, press bake. And let's just inspect our model. I think at this point, I also want to bake our ambient occlusion because that often adds a lot to your model, so we can see everything a little bit better. So give it a second. Now, in general, this is looking pretty decent. However, something that I do like to do is I like to sometimes just also set the cage a lot lower like this. Just make sure that it is still intersecting. And I like to do that to make sure that if I now bake again, that there is no visual difference so that I know because sometimes the cage might be intersecting in a way that I don't notice it. Okay, so it looks like no visual difference, which means that at this point, we can set our cage again higher until it hits all of those points, but tries to go as low as possible. Oh, on the back, we need to, like, paint it in or paint some offset a bit, although it might be fine. When I zoom out, it looks fine. And I don't know why it's so slow. Like, my mom said she'd be able to handle more. But I guess what happens is that because I'm also recording and everything. So anyway, in this case, let's press bake. And we just want to basically inspect every single model, making sure that there are no errors or anything like that. So we bake, we preview the bolt, I forgot to bake the stupid bolt, which we do need to include. But let's first of all, just double check over here. Now, over here, you can see that these etges are a little bit sharp. Normally, it's fine. However, what you can try to do to see if it will look a bit better is you can rely more on smoothening. You basically do this by adding a smooth modifier. Oh, I need to, like, do weighted normals, by angle. And set the smoothing to 100%. No, that's not working. 1 second, I'm just going to try and reset my model because the smoothing over here. She can see it is a little bit broken. Weighted normals. Sometimes what you can also do is there's a few techniques for this. But it's a bit annoying is we can press added normals. And I believe if we didn't do average convert, give me 1 second. I just need to quickly check. Okay, I just did some random tinkering and applying to normal. So what a normal modifier does is it will flip it, and then I just apply to to flip it back, and that also resets normals. There used to be another modifier, but I think they removed it. But that one was a really old school one. Anyway, after that's done, you can go ahead and a smooth and you can set this to one. This is what I mean. Like, you have really, really heavy smoothing. However, your norm map will compensate with it. Now, I do often try to avoid using this technique. Like I like weight normals more. However, what will happen is with this really strong smoothening, if you go here and now bake, the edges will look a bit softer. So now if I press bake again, what you will notice, give the second here see the edges, I don't know if you can still remember the previous one, but the edges, they are a little bit softer. The only problem is that you might sometimes run into some smoothening problems. So it's more something over here, see the lighting, there is tiny smoothing problems here and there. It's more like for small objects, it's totally fine. For the bolt, I would do it. You won't notice it. But for large objects, you might need to be a bit more careful. This one looks fine. This one looks fine. It does have quite a seam here, but I don't think we can avoid that because there is just a seam there. Now, the big one, Yeah, all of the small non mepos have been cleared up really nicely. Seems to have baked still fine, even with a large cage. So that's pretty good. Over here, I can see that we still have some missing data. How are the welds doing? The welds are doing fine. We definitely would need eight K to get the most out of the welds, but we are, of course, not going to render at eight K. Well, we might make for the fun, like a final render, but the welds are still good enough. At four k. Sorry. Sorry, my voice broke up for a moment. At four k resolution. I was more worried about this area over here because there was quite a bit of intersecting. No, that seems fine. Um, but the nice thing is that when you bake at eight K and then lower it to four k, you actually get a higher quality than when you bake at four k, if that makes sense. So just like the compression already like arts quite a bit. So everything seems to be pretty much fine. So what I would do at this point is I would go ahead and fix my cage a little bit more. Over here in the back, I probably wanted to go in, paint offset because I didn't do any offset painting here. So I'm just going to go in paying the offset. And also to show you, I can show you, let's say that we do the baking to out baking and then start painting offset. What will happen is when we bake it will do a quick outbreak. You can see over here that it changed a little bit, but I guess that the paint offset it just isn't reaching the areas I wanted to reach. Which is sad. Normally, that works totally fine. But in any case, now what we can also do is we can also just done on hi pool. Set the cage a little bit larger. And at one point it should sometimes we just need to do like a fill bake. It should get rid of some of these issues. There we go. So when I do a fill bake, the only one that's left is we have a tiny bit here. Any chance I can do a paint offset on that. That would be great instead of needing to large make the entire cage larger for such a small bit. And over here also, let's see if I bake again, come on, you can do it. Okay. I see a tiny, tiny problem here. Let's go ahead and do that. And this one is also solved, okay? So, see, even when you don't see the cage move, it does sometimes actually move. Now, one thing I also don't like is that over here, I'm actually going to paint offset and I'm going to actually paint this back in a little bit because, like, it's got and pushed out too much. And I just don't trust when it's, like, that much. So let's do this. I'm going to set my flow a little bit lower because I'm feeling like it's a little bit too strong. Okay, Let's do one more bake and to double check that everything is correct. Okay, so the tiny problem over there is done. And now you can see now we have all of our panels nicely baked in. I would say the last thing that you can do is if you just go into low, sometimes there are some skewing problems. So if you have that problem, you can always go to screw and you can paint in your skew. Your skew is basically the direction of your normals. Now, over here, it looks fine. So I probably don't want to edit it. But I can show you just like an example that if I paint this in, you probably see like a tiny change because okay, you cannot see the change now, but trust me, when you have, for example, the directions of your race are not exactly like the front view when you want to bake really specific data from high to low poly, you can use your screw to basically make sure that it hits the race from the front. But this is something you can definitely just look into yourself and it's really specific to Mamset baking. For now, I think we're at a good point. So what I'm going to do is I'm going to go ahead and off turn everything on. I'm going to go ahead and start by saving my scene. Yeah, it's called bake scene. And I'm going to bake it nicely at eight K resolution, and then later on we will just compress it down inside of painter to four K and press bake. Okay. With the power of editing, the baking is now done. Now, next thing that I'm going to do is I'm going to go ahead and I'm going to prepare my final. So even though we added those edges in here, technically, in the final, that should not matter, those edges. So if I go ahead and go in the final, which still has the old one, it should just be totally fine. The bolt. I keep forgetting this stupid bolt. Sorry, guys, I just need to quickly add the bolt, which we have enough space for. It's one of those things where yeah, I just keep forgetting it for some reason. Here we have our bolt, high and low poly. Super simple. Let's add it here. And what we're going to do is in our hypol just make sure that, okay, so it's like a pure hypole and in our low poly, all I'm going to do because it should already have UVs is I'm going to select all of this. I'm going to go ahead and go to my UVNrep. A nice thing is also the bolt will be copied over later on. So I can literally just go in here, see? And here I have the bolt. Now if I just go down and just do a 01, just press this button. Don't press these ones because then you repack everything. But if you press this one, you will repack only the bolt. At which point you can just lower it down. And because it's a bolt, I do want to give it a little bit higher resolution. So I'm breaking textil density a bit, but that's because I know that they will have little ridges and everything like that. So it will have it will need some additional just texture resolution. Now I can just go ahead and collapse this. And once again, last time, we have our Oh, wait, sorry, I'm actually going to, like, push this bolt into our container low poly and this one into our container high pool. And then let's go ahead and delete those. There we go. So I will just very quickly export these and I will re bake them, and that's about it. So just give me 1 second. Okay. So I ended up moving the bolt away from each other because we had some baking problems. But the bolt is now also baked. Awesome. Just wanted to quickly do that. So we left off with now having, of course, this bolt. So the first thing I'm going to do is I'm going to grab it. Copy it and throw this into our container final so that we have all of the elements that we need into our final container. Nice. So at this point, what I'm going to do is I first of all, I need to go in and I need to just make sure that I select only one material, and I'm now just going to turn this into a proper final container by placing all of our assets. So if we just go ahead and start with the base, you can see over here that we have these bolts and these ones. And for that, we can basically just use this. So you can see over here that um well, let's just do a copy. I like to always just do a quick copy that we don't accidentally mess anything up. And this version doesn't need these rings. It just needs these two bits. The first bit is going to be a simple bolt that will be placed here. And here you can see again, the smoothing of the bolt, because these bolts will be used a lot. I didn't want to give it weight to normal, so I just give it some stronger smoothening which will still make it look really nice and soft. But of course, it will not look as good in just normal lowlvu in any case, going to go ahead and do this, place it somewhat in the center. Nice, rotate it around. And for these bolts, we can actually have them in both sides. Both sides will be slightly different in terms of, like, textures. So you can literally just do this. You don't have to, like, rotate it around 180 or something like that. Next, what we have is we have this one. And for this one, we're going to move it up, scale it down quite a bit. And let's see. So we probably want to scale it down until it looks until it fits in all of these really small areas. Move this one up. This one down. That seems to work. Duplicate it, give it some rotation because we want to give it a little bit of variation, duplicate it again. Some rotation and this one I'm going to actually move a little bit over here should be fine. And again, give some rotation. Now over here, these ones are floating, so just need to grab them, move them down. I think that marks the wheel at least done. Yes, as far as I can see. So at that point, what I would want to do is I'm going to duplicate this wheel. But because I want to make easy rotations on it, I'm going to go ahead and I'm just going to attach some of these pieces. This one, this one, this one, this one and this one. Oh, it has some slight smoothening problem. Does it also have that problem here? It does. It is because we have a Whoa, look at this. That is not good. That is really surprising that I just never noticed that. Okay, with something like that, I'm not comfortable actually leaving that kind of stuff in. I need to go in here. What is surprising is that most likely what happens is that the triangulation here, heres, you can see the arrows. In those cases, what you just want to do is you just want to go ahead and actually connect them. So I can see that over here. I have no idea how this one slipped through the cracks, but it's not connected on both sides. Wow, okay. So we are going to make a connection here. And over here, we also need to make a Oh, it's out of saving. Give me a second. Let's isolate this. Also connection here. And then we just basically rebake and we just copy this one to our low poly. That's all. So it's not like difficult, just annoying. That's it. Here, see? We can just do this. It's just triple check. This one can be merged. No, wait, I'm not going to do that. I don't want to also mess around with my UVs or anything like that. So let's say that this now looks correct. Give the new weighted normals just to fix those additional arrows. Then very quickly just export it. Export, contain a low poly. Yes, export. And then all you want to do is you just want to go ahead and this was the piece that we needed, copy it, throw it into your container final. Over here. And I'm just going to delete this piece because we want to redo it. Now, with this piece, you can twice use an Align tool. So over here we have an line tool where if you click on it, it will just properly align over it. In this case, it works totally fine. If it doesn't work because it doesn't always work, then you can, of course, just go ahead and manually place it. I then like to just press Hight selection, delete the old one, and unhide. So now everything is, again, totally fine, and we can just go ahead and continue. While we're doing that, I'm just going to go in here and it now reloaded, and I'm just going to go ahead and press Bake. And hopefully my computer doesn't go too slow. So for this mesh, I'm actually going to do it with this one. I'm going to go ahead and I'm going to attach, as I said before, a few of these pieces. Let's say, probably up until this point, so that this one can rotate freely. For my bolts, yeah, it's probably easier because we are going to duplicate this one a lot to also just attach your bolts over here. So now that we basically have two individual pieces. Next thing that we want to do is we want to grab this piece, go to our top he affect pivot only, and you want to set your pivot point where we have the center of the cylinder, which is here. And then we can also move it up a little bit like this, which allows us to do this. Yay. So now we can just easily place it wherever we want. And if you want, later on, you can also go in and you can even do animations or animations. Do some rigging if you want, but that's not something that we'll go over in our chapter. So what I can do is I can go in here and I can just like, give it a slight rotation. So if my PC is a little bit slow, that's just because it's baking in the background. Here, we can do 180. Same location. And it's up to you, how you want this. I would assume if I'm pushing this, then these two pieces, it's fine to have them forward. And then these pieces you kind of want to keep in the same orientation because you can imagine that it's, like, pushing this container one side, and that's why it would have, that same orientation. So if I just go ahead and rotate this Move it over here. Make sure that it's somewhat in the same location. Yeah, this. Then for this one, I'm just going to go ahead and rotate this back also. Give it maybe a slight angle like this to make it more interesting. But there we go. We have our wheels with our bolts done. Now we have this piece and sometimes I just very quickly send on my object. This piece, which can go here. And then we have these ones which can go tin on this side. And I would want to push this back. Okay. So that covers those sites. I'm just checking if I don't forget anything. We have this one, which also needs some bolts, and I'm going to go for t at this point, I can actually, yeah, I quite like having one like the ring. Which type of bolt would be in here? It would probably be the one on the end like this. So let's grab these two. Oh, let's go in and actually, get rid of. Well, let's not get rid of it, but just detach one of the rings. And attach it to the bolt. Send it my pivot, and just move this one up here. I'm not going to really copy it because this is the last bolt I need to place, so the rest will be removed anyway after this. But let's just go in. Give the nice position. Okay. That works well. So we were going to have one here. One here. Another one here and another one here. And then what you can also do is you can just slightly rotate the bolts around so that they are not the same everywhere. Like that. Okay, so those pieces are done. We were also going to move this a little bit so that it is in the right position. For that, I only need to move this one. So let's go to our side view. Affect our pivot only. Place it into the centerpiece over here. Turn off our snap rotation, and this one was going to be moved a little bit up like this. Oh, it's out of saving. Of course, out saving is a little bit slower now because of the hypol. Okay, but that looks good. So we have moved that up, and there was one more thing that I wanted to do, and that's that I wanted to give it some general imperfection. So funny enough, I am actually going to give it probably like two segments over here. And I mean, here you can see, it's sometimes a little bit bulged out and it sometimes has just some dents and all that kind of stuff. And as I said before, it's easier to just do this inside of our low poly version. So what I'm going to do is, for example, I'm going to here at the font, let's see, move this out. And then I can, for example, grab one of the corners over here, and I can do, like, a little bit of a little dent in because what you need to remember is nothing in real life is perfect. And especially not these type of, like, metal pieces that are being, like, pushed around and just in general, like, they are much more prone to having imperfections. And that's basically what I'm trying to capture a little bit. I'm just trying to capture some of these imperfections by doing some very slight movement here and there, and that's often already enough. Just those small movements, just moving in, that already can do a lot to these type of assets. So even something like that should already do the trick. Maybe I'm going to select this site and just push it back in and out a bit. Yeah, because this is connected, I'm probably going to leave it at something like this. Add one more weight to normals just in case. There we go. So now you can see, it's very subtle, but you can see that there's, like, some imperfections going on. Actually, it is a little bit too subtle. I want to move these ones. Out a little bit more like this. See? At that point, for the first time probably well, yeah, for the first time, we have now a proper mesh. I feel like I'm missing one, and it's the one over here. 1 second. It's saving. Where are you? Where are you? Loplyi. Not sure what happened to it, but we can just copy it over, throw it into a final. I know where you are. I accidentally here we go. Moved my entire lid without actually moving this thing. But I can just kind of, like, do it manually. Okay. So we got that one done. Now let's do a final check. To make sure that everything is working well. I think it is. Awesome. So what we can now do is we can go ahead and save our scene. And because this is our final mesh, we can already just export this as our actual final mesh, which was going to be in exports to unreal. And then we can also, of course, use this one for painter. However, for painter, I might create one where I have the lid not closed. I mean, because else it will be a bit difficult to see. Anyway, let's go ahead and go in here. Yes, I want to replace it. And then to do a final check, we can go ahead and go inside of marmoset. And in this scene, let's go ahead and turn off our Bake project, drag in our final container over here, and it looks like it already has the correct no maps. And as you can see, we finally have a final container. Now, definitely, this one took quite a bit longer than I expected. It was mostly just because of all of this welding stuff. Like over here, yes, this is just a messy shape, but in general, it's just cleaning up geometry. For us, the problem was mostly just in this area over here where because everything is like we tin, but it's also welded together. All that stuff combined just causes a lot of issues. But you can see that now it is working. It can even open and close, which means here, see? Really nice stuff. We definitely need to attach that one together. But in general, everything is now working well, our bags are working well. So what we're going to do is in the next chapter, we are going to start with our texture, starting with adding those additional non map details, and then we'll take it from there. So let's go ahead and continue with this in our next chapter. 30. 29 Creating Our Container Textures Part1: Okay. So what we're going to do in this chapter is we are going to prepare our scene so that we can start with the texturing. So we're going to prepare it inside of substance painter in our case. And what I also did is I also have a very basic marmoset scene in which we can preview the proper high quality reference. It's the same marmoset scene that we used for the baking. It basically has, if I just show you very easily, it has a few very basic lights. That's a bit annoying. It has one forward facing light, and then it has one light that comes from the back and another light that comes a little bit from the bottom. It's just a basic three point lighting setup, and for the rest, we have this camera over here, this one, which has. If we go over here, there, where are your camera? This camera and it has a tone mapping set to ACS and then it has a wavy curve over here, which is, again, something that's quite common, a little bit of clarity, a little bit of sharpness, and that's about it. I will include the scene, but it's mostly just for previewing because of course, we are working inside of unreal engine. However, I find it easier to preview stuff inside of marmoset. This scene is set up so that it is very close to unreal engine. Whatever looks good in marmoset often also looks just totally fine in unreal engine. So what we're going to do first is we have over here our final container. I want to go ahead and I want to actually select the final container, and I want to move it temporarily to the site because else I have no way of actually texturing the inside. So I have over here just my final container like this, and then I can just quickly export this stuff. Export selection. Let's go ahead and our exports over here. I'll just make a folder card texture. Normally, I just throw a bunch of these into the same folder, but just in this case, to keep it extra organized for the tutorial, I'm just going to go ahead and add it in here. I'm just gonna call it painter. And once that's done, I'm just going to do my changes so that it is back into, like, the normal position just in case we want to have a we want to have our old version back. So having that done, now what we can do is we can go ahead and we can open up substance painter. And set up our actual scene. And this, of course, it's really bright right now, but we will improve that in a little bit. Here we go. Now we'll paint a load up. We can just create a simple new scene. Now, I have a template that is called the SM model scene template, and I will go over what it does. It is something that I can also include with you guys for you guys. Sorry. Basically, this template, we use it internally because it matches better with Unreal engine once again because often the default of substance painter is really bad in terms of, like, matching with, like, the actual look of Unreal engine and lumen. Now, over here, we can go ahead and we can grab our Exports, textures and grab or painter file. We want to go ahead and go for four K resolution. That's totally fine. And then you just want to go ahead and press Import bake maps, and we are going to import Oops, our final bags that we have created over here, and then we can just press Okay. Now, I believe we had them at so I just need to double check that we did have them at eight K, which you can do by simply right clicking properties, details. Yeah, okay, eight K. Perfect. So here we go. Here we have our scene set up. So what is different in this scene compared to the default scene? You can, of course, use the scene. I will include the template. And you want to place this template in your pain library templates basically. Oh, sorry, I accidentally have used UV tile work for turn on. We do not want to do that because that's for you the IMs if you have multiple textures. Just give me 1 second. So this four k, I like to always work in OpenGL, and again, import your big maps. Okay, and just don't save this one. So with this default scene that we have over here, most of the differences are if you go up here into your display settings, if you don't have this window, you can always find all of these windows up here, is I have a specific environment which is called the unreal scene environment over here, and that will be included. And for the rest, if we scroll down, we have activate post effects. I just have my color correction turned on and I set my brightness a little bit up to 1.12. And for the rest, I have my tone mapping, and it is set to log. And for us the exposure is just one with the Gamma 0.96. And that is basically just to balance out this better to unreal engine. I turned on anti alysing setter 216, and for the rest, I also have a color profile over here, which is the Unreal engine four color profile, which someone else made. I don't know who. I found it a really long time ago. So and we have the tone mapping set to ACS. That's all. But I will include this template for you guys. So don't worry about that. And FREz yeah, the shaders are all the same, so we don't have anything special. Now we have over here our container. I do want to go in and I want to rename this a little bit to TT 00289 container. So in our text set list, this will be also the name of our files. So when we export this, it will be ID container, underscore, base color normal. It will just export all of those maps. Now another thing that we want to do is we want to go into our text set settings, scroll down, and we want to go ahead and select all of the imported bake maps that we have. So we have our normal map. We have our object space. It's the same as world space. We have our ambient eclusion map and we have our curvature map, and it's already found the position and the thickness map. Now when I move my scene, as you can see now, all the maps are applied. So we have now our nice hipolynm maps also added to this. So that's all looking great. Awesome. So at this point, we can go into our layers, and we can just go ahead and delete. The first thing that we're going to do, which I will also do in this chapter, is we are going to add some additional non map details. These are mostly just like these dents over here, as you can see, and maybe also just like some text or something like that. We can maybe do like storm or something like that, but we'll go over that a little bit later. In general. So this concept, it's quite basic. Basically what we want to do is, let's start by creating a folder. And once again, I do expect that you know the basics of just in general. Oh, hey, I see a little issue here. But yeah, I don't expect that you know the basics of texturing inside of substance painter. I'm a little bit distracted because we have that issue there. That issue is most likely because our cage, I must have accidentally made my cage too small and just didn't notice it. I'm going to first of all, get started by saving this scene. So let's save this scene over here. Call it presentation and just press Save. And the next thing I'm going to do is I'm just going to go ahead and quickly go back into our bake scene, and all I need to do is I just need to extend the cage a little bit. So here's our bake scene just press Control F so that we can zoom in properly. Paint offset. And I'm going to set my paint offset quite low. Hold control. Oh, sorry, I still have outback turned on. Let's turn it off because it makes things a bit slow. And I'm just clicking a few times just to make the cage like a little bit better, just to be extra sure that we do not accidentally mess something up. Over here. Awesome. At this point, we can just go in and we can press bake and I will pass the video until this is done. Okay, so that's done. Now inside of painter, you should be able to just go in here and find your container models over here and press reload. Sadly, we cannot do it all at the same time, so just one by one. Now, it will not show up yet. That is just like a painter thing where you need to go in here, and you just need to re dragon. And let me just check if I just do the container. There we go, see? So you just need to re drag in your maps, and then they will kind of update. So I'm just going to quickly do that. There we go. So that fixes those issues. Are we now ready to go? I think we are. Awesome. So where we left off was that we create a folder I like to call this for the normal details. And then I always like to start with the fill layer, and I will call this one in. So we have a fill A that's called in and out often. The in layer basically means non map details that are pushing inwards. O means non map details that are pushing out. You only want to go ahead and oh, yeah, you can just press Alt click to click on the height to only have the height turned on. And then for the height, we want to set this into the minus. It's quite nice because what we can do now is we can add a black mask. And for example, we probably want to also have some symmetry in here for this one that will also end up on the other side. Now you can ops use symmetry. So if you go up here to symmetry, and let's go ahead and press Show plane, and we need to have a symmetry on the Z axis. Now, sadly, it's no longer in the center because of this panel, so it doesn't actually place it in the center, but we should be able to kind get it right like this. And that should now, so that should translate from one side to the other side. Now at this point, if we go into our brushes over here and let's say that we start with just a basic hard brush to show you, as you can see, when you draw this in, you can now draw in norm map details. Now, if we go down here, what we can do is this brush right now, it's a little bit too harsh. So we want to scroll Oops, sorry, we want to scroll down, and then over here at the hardness, and we want to probably set it, because we want to give it a little bit of like a bevel. So let's say 0.5. Yeah, that looks about fine. And now what I like to do is I just like to go ahead and line it up somewhere over here. And it's just quite an old school technique, but it still works quite well. Just click Hold Shift, click again. And then it will just place this additional detail. Now you can see over here that we do have some issues where it's not exactly precise. So another way, which is a slightly newer technique inside the substance is that you can go up here and you can use a spline or part or line or whatever you want to call it. You basically just click on it, and then you can start by drawing out your parts. Now, for this one, let's say that second. Let me just look at my reference. It's about here. And nice thing is with parts that you can adjust them. So I can go up here. And it will still not be perfectly straight, so that's the thing. But the thing is that I can now go in, and as you can see, I can make it straight. I can also play with my size over here to keep the size fairly consistent. And down here in your Alpha, once again, you just want to set your hardness to like 0.5. So it's a little bit more non destructive, and I mostly just use it if I need to, like, here, because it's also not the fastest, and you can see that it's not super acrod sometimes, but it's still super handy to, like, just move it around. And I often just kind of eyeball it. Oops. And now you can see it will on two sides have this detail. So that's quite nice. And you can go ahead and you can also create multiple parts. So the next one would be here and here. And parts should also also not pass over two models as far as I know, but we can double check. So we have one that goes from Oh, sorry, I need to go in and I need to create a new part. What was the shortcut? I forgot the shortcut. I always switch back and forth. Well, it's control shift. There is a shortcut to create a new part or just flip back and forth between these two. So I honestly do not use parts that often, but they are really cool cool tool. Yeah, I can go in here. And I try to just align it with this base over here. Yeah, something like that should work pretty decent. Now, you can also go ahead and right click and you can duplicate Part two. And I'm just going to go ahead and actually move it up here so that I know that it is in a straight line from the other And let's move this here. Mm. Something feels off. I don't know if it's like the length. The length should be about fine. Yeah, that should actually work. So pretty much just find whatever way you want to create these lines. Now, we also have these ones over here that are sitting on the side. And for that, hopefully what I can do is I can actually still make use of symmetry where I create oh, sorry, I need to press W was it? Enter? Oh, yeah, sorry Enter to go out of Edit mode. I keep getting that I think about space, but that's not the right one. So if I go ahead and go here, I need to move this yeah, I have a feeling like the part doesn't know exactly what to do at this point. Or does it? No, it does not. You can go in here and you can control your tensions like this by clicking this button and then this button. And you can try to, like, move this up to make it a bit more straight. I just want to be a little bit careful that I don't like mess things up. Because there is a point where it doesn't look anymore like a like a smooth bat, so to speak. Mm, that should. Well, it still has, like, a bump in it. Yeah, let's also see if I can control this one. I don't know if I want to maybe, yeah, I cannot move this back. It's actually a tricky one, to be honest. Hmm. Yeah, this might be one of the few times where I will actually remove a part and just maybe use the manual way because I cannot get it exactly to the point where I want. Because at least with the manual way, what I can do is I can just haul it straight. Or I could move the part on my UV, but I'm not sure if that will work. So first of all, you need to scale my size until it hits roughly the same size as before. And let's see. So there's a few ways that we can do it. We can click Hold Shift, like this. And now at least it just goes perfectly straight. Yeah, that one actually works. No wait. No, that does not work quite well because it is not perfectly straight. You can also try to go into your two D view, and maybe let's do two D and three D view. Let's see. Over here, this is the top. Okay. If I just go in here and I need to go quite a bit lower. I guess it's roughly here and then here. I want to go a little bit further away from the edge. Let's do here and then here. Yeah, see. So like I said, Okay. I have no idea what that is. But yeah, like I said, sometimes you just need to kind of, like, find whatever way works best for you. It's not rocket science. You just kind of, like, grab and try out whatever works for you. So I wanted to go in here, and I wanted to try to maybe do two of them. A bit like this. But I feel that this one is actually angled a bit too much. Yeah, here. I don't I don't think the angling is because of the UVs. I think it's just me being bad with making things straight. I know if I like that. I think I'm just gonna leave it at one. So let's have a look. So we have one here, one here. Maybe if we go somewhat up here, that it will read a bit better. Yeah, that does read a bit better, although I would want to, like, probably extend this out a bit. So probably want to go somewhere like this point and then how about that? I don't like this. I don't like where it's like, at this weird angle. Maybe we actually need to make it smaller in order to. Yeah, here, so we need to make it shorter to get to the right angle. So how about this? A bit longer. Just take your time. Like, I am rushing this a little bit, which I should not do. And I just want to go near and fix that. But yeah, just take your time. So that's looking pretty good. So we got these pieces, these pieces, and we got these ones over here. Now, in the back side, you can choose if you want to have anything special on the back. I don't know if I really care too much about it. I can, try to maybe, like No, you know what? I think just having a minimalist back is actually better. So we got most of these base details. Now the next details that we want is we just want to have some actual non map text, like you can see over here. For the non map text, like not counting this shape, hopefully what we can do is we can actually use the text layers inside of inside of substance painter, just rotate this round. I'm just going to go ahead and duplicate this layer. Color text just because it's a little bit more specific. And then if you go and type in text and go to the Alpha over here, you actually have fonts where you can just type in the text. So we want to go for something that's quite smooth looking. And often with the text, actually, what you can do is you can literally just set your brush is larger and then just throw it into an Alpha. So if we go for a let's try font. Let's see which font will work. The base fonts are often not the best, but we can always try. And else what we can do is we can make it inside of Photoshop, but it would be nice if I can avoid using Photoshop. So let's do this one, and EN 840. Oh. Oops, something went wrong. I was not typing. EN 840, something like this. And then we just have this simple text here. At which point we can go in here and let's say that we place it here. Now, you can see that it's a little bit Oh, and then we need to turn off mirror. You can see that over here. It's a little bit too sharp. But if we just go and do this at the site, let's make it storm I'm just going to make this larger like this. Storm going here. Also storm. Then what we can do is to kind of make it to our liking. We can add a filter, and in this filter, we can add like a little blur. See? We can blur it. Now we can make it a little bit less strong. Same with these lines over here. We can make them a little bit less strong. You know what? Maybe add like a tiny blur to these ones also. So filter, blur. Just something like this. And there we go. So now we have some very basic indentations here and there. We will, of course, also, later on, add some graphics, like you can see here and the logos. But that is something that comes a little bit later. What I will actually do is I will actually have my graphic artist work on just creating these things. So in our team, I would normally not spend the time to actually create these type of things, especially because when you are working on a large scale environment and stuff like that, you also need to think about copyright and about branding. It is more logical if you have an custom brand that you made yourself in house that doesn't exist, specifically for, like, everything that has to do with, like, trash. Like that, we have a bunch of brands ourselves for, like, different types of food and different types of, like, companies and stuff like that. So my graphic artists will go over on how to, like, create the stuff. Um, I will ask him to record it. Yeah, yeah, I will ask him to record the process just so you guys can kind of see that, too, but it will be a bonus. He will not be talking through it, so it should be fine. In any case, we have these things done. Now let's go ahead and end this chapter by just exporting this stuff. And applying it to our final mesh. Oh, sorry, to our final scene inside of Oh, and I also need to remember to save it inside Mom said, I cannot talk. I will take a break after this because I'm still recovering from COVID, and I find that just my tarts are all over the place for some reason. TD 00289 paint. Save let's go ahead and it's still saving because it takes a bit longer than expected. Here we go. File export textures. Go in here. For now, I have, of course, also different export presets for unreal shaders and all that stuff. However, for now, what we will do is we will simply use the normal PBO metalegraphns over here just to keep it easy for you guys. TGA is fine. Four k is also fine. Export, save. And then we can go ahead and we can go inside of oh, this is the wong scene. We want to go ahead and go inside of the presentation scene. Do I want to save this? Yeah, let's save it just in case. Here we go. Here we have the presentation scene, create a new material. It's called container. Oh, I guess we already have a material that's called container from our original. Then drag on this material, and what we can do is we can already drag in our our normal map that we have exported. Now, when you export a norm map from subsisPain you need to keep in mind that it is often exported as direct X because Mamset reads as OpenGL. You often want to just press the flip Y button. You cannot really see, so let's move this down, but here you can see difference. See? Oh, at. Yeah, yeah, yeah. So we need to press flip Y because else it goes the wrong way around. Okay, but that's already looking pretty cool. Now, also in the occlusion, I'm just going to go ahead and press occlusion, and I'm going to just import my baked maps. Later on, I will show you how to actually get the oclusion map. But for now, we can just add this baked occlusion. I'm not going to set it as strong, maybe like 0.6. And the collar over here. But now you can see that this is already starting to look a whole lot better. So that's nice. So in an acceptable, what we will do is we will start by defining our actual base colors. And I will probably also just quickly before we move on, blur this a little bit more over here. And maybe also make it a little bit less strong because right now it's all like a little bit too overpowering. Ex we won't be switching back and forth between Mm set too often. It's more just like for this base, we want to kind of figure it out, make sure everything is correct. Okay. Awesome. So let's go ahead and continue on to the next chapter. 31. 30 Creating Our Container Textures Part2: Okay. So now that we have all of our nor maps over here done, what we're going to do next is we are going to start working on our base materials. So if I have a look at this, what we have is, of course, we have our painted base metal, and then we have, I think it's galvanized metal below it, or at least, like, a very dull rough metal below it. So those are two materials. We have our like pretty rough plastic looking material, but that one plastic is often really easy to create. Then, of course, it has a bunch of dirt and damage and all that kind of stuff. Over here, we have a simple rubber material and we have a raw metal material, which is just raw metal, nothing that is painted or anything like that. I think that pretty much covers most of it. Now, normally, we already have a bunch of these materials in our company that we can just use. However, right now, I am going to create most of the materials just manually by hand just to give you guys a little overview. Like a few ones that I'm not going to create by hand. That's like the base steel because there are so many options in your smart materials already for just very simple steel. So we're going to just use a base for that and also probably like the galvanized metal. But the rest we will just create by hand. So First of all, we have this one. Let's go ahead and do a little close up. Do I have a good close up. All these close ups are slightly out of focus, but this is a pretty good one. So here we can see that it's basically just like plain metal colour. It's fairly shiny. It has some really slight soft bumps to it, some little specs here and there, and the rest will probably be taken up by dirt. So let's go ahead and just start with that. I like to always create a new folder. And normally I like to keep them on top. If I keep them on the bottom, we risk the chance that something goes wrong and we need to, like, like we lose some of the details. So, this one's going to be painted metal. Now we're going to get started with our very base. Let's start with just like a simple base layer over here. Scarlet base. And for this one, we do not need a height. We do not need a normal opacity or ambit oclusion. For our color, you can just go ahead and press the color picker and just pick over here the color on one of your images. It is actually the right color, but it's more to get a start and then you can go from there. So if I see this, I can see that it needs to be a little bit darker and a little bit more grayish. So let's go in here. And and just try to kind of match the color to real life. Don't want to go too dark. Often things look darker in here than they really are. I think something like this. So which color code do I have if you guys want to follow hash 535 95e. But, okay, I think that's a pretty solid base. Now what we're going to do is give me 1 second so that I can switch. We are going to start with the base roughness, which is going to be a little bit like this. I can see over here some non map problems in my base roughness. However, these problems, they might just be inside of substance painter. It's something that we need to check. Worst case scenario, if we really find a lot of non map proms, then we can go back to the drawing board and we can fix them. And the nice thing about substance painter is that it's often very non destructive. So even though they are normal map proms, we can fix them, update the model, and it would technically not break any type of painting or materials that we do. In any case, let's start with something quite shiny, maybe tiny bit less like this over here. Now, next thing that I'm going to do is I'm going to go ahead and I'm going to give it some general roughness variation because you would never want to have something absolutely perfectly shiny and stuff like that. So let's go ahead and create a fill layer. Roughness variation 01, and I like to always alt click only have the roughness on, make it a little bit duller. Add a black mask, and then add a simple fill over here. So this is over roughness variation. It's not going to be roughness variation in occlusion, just like overall, which means that we can simply go to our texture list and find a roughness. I want something I want something with specs, but I also want something really soft. So I'm going to do probably two. Let's start with specs. You can Alt click on your mask so that you are able to actually see it. And let's go ahead and set this one to triplanar projection, which means that it doesn't look at Vs and it will just do an overall projection. Sorry, I need to go here. And then I can go ahead and I can scale this down. Often, I recommend not really moving your triplanar because you can see whether you move it. Often it already has the most optimal position. But let's say five, four. Let's say something like this. Now if we just go ahead and then play road with our contrast because we do not want to have this roughness variation everywhere. Like this, and press. And now, if you just go ahead and play around with it, you can see that over here. You can now start by adding some of that more roughness variation like this. Let's make it not too intense, probably 0.47 inch. Yeah, I think that looks quite nice. I always like to make my roughness a little bit stronger than you would have in real life because again, we will lose some of that roughness detail later on when we are actually rendering T 0.44. Now let's go ahead and duplicate this and just add a second roughness variation. I often like to add two of them just because it often looks better. Let's go for something that's quite soft. Wipes. You need to be careful with wipes because they might look too obvious. Maybe something like leaks, but then quite large. Let's have a look. If I just do something like this, which is leaks, but I want to make it really like a really soft quality. So here we have some leaks. And now if I just go in here? Well, first of all, let's actually see if I make it shinier. Nah, let's not do that. Let's make it dull. Something like this. And then what you can also do, just to change the overall strength of your mask is you can go into your mask, go to the 100 and lower it down. I want these to be quite subtle. So let's start with something like this. Now let's go into our base and make the base a little bit shinier just to bring out some of that shine a little bit more. The next thing that we need to do is let's add some normal map information in here. I can see that we have some overall, this is the really classic paint bumps, so to speak. Then we also have some general stronger specs and stuff like that. Let's go ahead and continue with that. Let's have a look. If we just have a look at our shine, let's add a filler called this soft normal bumps or something like that. And we need only the height for this one. Once again, black mask, ter fill. And this way, we always have control over the height. That's why I never like art my fill layers directly into the height, even though it would work because it's more annoying to control them. So we want, like, w soft looking bumps. Most time, what you can do is if we just go for some white noise over here, and then we need to make the pumps a little bit stronger. So we got something like this. And if we then go in our white noise, add an effect, and then add a filter and then bluh your white noise a bit. See? And now starts to create a little bit more of those pain bumps. And let's go and set a white noise a little bit smaller if we can. Two, the blur is really sensitive. Let's say 0.08. It's twice something like this. And now let's go into our height. 0.01. Oops. 0.005. It needs to be like super subtle. Um. Let's do this, and now let's set the blur a little bit lower. 0.05. Okay, that's w two. 0.07, maybe? Let's see. Yes, it arts the bumps. What do I feel? I feel like the height should be a little bit less 0.0, of course, when we go inside of Mum set, we might need to balance it out a little bit more. But here we go. Now we have some of these nor map bumps. Yeah, that smoothing is really intense. Normally, your nor map will kind of, like, fix it. I can, of course, just double check. Over here. Yeah, I see. Here, so normal fix it. It's a painter thing. This is also one of the reasons why I say, L, always make sure to triangulate to make sure that your model doesn't have any engons. Now, I'm not completely sure. I don't have it open right now, but there should not be engons here. So I think what is happening is just the limitations of substance painter. In general, over here, we now have a pretty solid base for our paint. Now, the second base, which was quite an easy one because we already have it, is going to be galvanized metal, and that one I have over here. So this one that I will just go ahead and include in here, and basically what I did with it is this. So over here, we just have some steel. I think I actually got this steel from tex.com. So texidt com is a really handy website where you can get a bunch of stuff for free, but if you buy, like, a premium subscription, you can get a bunch of, like, really nice, like, scans and PBR materials. So in here, there's, like, a bunch of metal. As you can see, here's a bunch of metal. And it looks like what I did is I grabbed the base metal, and then I added a galvanized metallic finish to it to this. So this finish is actually if you go down here and then go into your filter, scull down. Over here, in your filter, you have your mud finish galvanized, which will actually give you this effect. So, of course, you can use whatever type of steel or anything you want. And then I started adding some color variations, which is just, like, a very simple grunge. And then over here you can see that I just made the color a little bit darker for some color variations. Then I der some scratches, which are too large, but I will fix that soon. So norm bumps and some tiny black dots. Well, they're not tiny anymore. I can now go in here and I can start by just setting here, let's start by setting the tiling for this correctly. So galvanized scale Let's make the small. Also, I make it smaller, but I need to also keep in mind that we will only see a tiny bit of it. So just something to keep in mind. In terms of the shine, we just going into our roughness levels. Yeah, let's give it a little bit more shine like this. I'm going to set the flake intensity down a little bit. Now we have a color variation. I'm just going to go ahead and in my grunch I'm going to set this maybe to like four. Here we go. So now we have just like some general color variation. Then for my scratches, the scratches just once again has a grinch map that is just scratches. So, honestly, there isn't much. And in here, you can change the scratch tiling a bit. Something like this. And set the tiling to two. And then let's go in here in our height and I'm going to set this a little bit lower. 0.004, like this. We have our norm map bumps. Once again, I just do the same stuff over and over and over again. Again, I have my norm map bumps. I go to set this quite a bit smaller so that now you can see when I said tiling to ten, it just becomes these little specs here and there. And then finally our black dots, once again, go in here. Maybe five or maybe like ten. Let's do something at five. So like that, we basically have a base. Of course, like I said before, you can literally just go in and grab one of the steels that are the base from, for example, un sorry, substance painter. So here, you can very easily just like At Steel, Okay, this one seems to have some problems. This problem happens, and I just realized this. Honestly, I completely forgot about it. Our position map, we baked it in Mam set. Position maps in Mama set, we often bake them at eight bits, but they need to be 16 bits. Super easy fix what you can do because position maps do not really require a hypol it's just remove your position map. Go to your baked mesh maps, four K, select use low polis hypol and only select your position over here, and then just quickly bake it. Just like a super quick fix. And now you can see that now it actually does work. So that was just an oversight for me. But anyway, if we have these things, you can see that over here. This one uses a brush linear. You can just go in here, galvanized scale intensity. Play around with your roughness a bit, and before you know it, you have your own galvanized metal, and then you can just start adding some small bits on top. So anyway, that is our Kovnie metal. Now, the exact same happens also with our raw metal. If I just go ahead and go in here and grab my raw metal. I just have a raw metal that we created. What I will do with this one is I'm going to remove the dirt because I want to do that by hand. But basically, it is just a base, and it has a metal rough finish, which once again, is just like a filter. I think it's like the one here at the bottom, which will give you some general roughness variation. I'm going to set the scale. Down a bit so that it becomes a bit smaller. Then in our roughness variation, just like we did with the painted metal, you can see that over here. We have our first roughness, which I'm just going to So yeah, we're now just preparing all of our materials. Let's say this to four. Our second roughness, which is like fingerprints, maybe like five, something like this. And then we again have little specs. Let's make those ten. There we go. So that is basically just our base metal, our very easy base. I'm going to make my base metal in this case, a little bit less in the roughness. It's mostly going to be used here, so I should actually just check it out here, something like this. I'm also going to make it a little bit lighter. I want to go in my roughness variation and give those a bit more tiling. I can see over here that we don't have a lot. I should have maybe scaled this up a little bit in the UV. That's a little bit unfortunate. I can always go back and change it if I want to, something to keep in mind. But anyway, so we now have a base metal, galvanized metal, and a painted metal. The next one is going to be our plastic, and we also do have our rubber, but I believe that there is a default rubber that you can kind of use or like plastic rubber. And with this one, this one is just default inside of substance painter. You can go ahead and make this quite a bit less dark. I'm going to make mine a lot duller. I'm okay with the surface details. I just want to make them maybe like six, like, a little bit smaller. And surface damages. So yeah, I'm fine with the surface damages that we have here. So it looks like it just adds a bunch of dirt. Just going to go ahead and set that tiling of the surface damages, a little bit higher on all of them, just to get a little bit more out of it, five, seven. And at the top, what I can also do is I can also try to add a filter with a sharpen if you feel like you don't have enough resolution. So where you sharpen. Here we go. And that's sometimes just like boost the sharpen a little bit more. The same with over here my base metal, I can actually add a filter to my very base folder. Art sharpen. And you can see that just like Art's a little bit of sharpen, which is a quick trick just to make things feel a little bit sharper and a little bit higher resolution. But in any case, we now have our rubber done, and the last one that we need to do is going to be over here, our plastic. And for plastic, as you can see, it's mostly just plastic with, again, like some little specs. So I think that we can actually use our metal and kind of transform it. All of this dirt, of course, will not be here yet. But as you can see here, you can see, some nice roughness variation and everything going on. So we are going to, like, have some more localized dirt and everything like that. Let's just go ahead and duplicate our painted metal and call this rough plastic, for example. Now, the cool thing is all of these materials that we create, you can always go right click and create a smart material from them, which will place them in the same folders as over here. That way you can use them in new projects. But in my case, I'm just going to go here. Turn off the painted metal. And now we have our plastic, let's go ahead and just turn everything off and start with our base. So for our base, I'm going to make it quite a bit less shiny, something like this. Base color, let's press the color picker and just Oh, let's not do that. Let's pick a color that is somewhat looks like it has like a tiny bit of purple in it, but not too much. Something in this direction, I think that should work. Okay. So now what we will do is we will I will first of all, turn on my specs over here because they become quite a large part of this specific model. And it looks like the specs, let's push these out this time. And let's go ahead and just turn off the blur. And my white noise, I don't I have less resolution than I expected, to be honest. I said this to one, Yeah, see, here, I have less resolution than I expected. That's a bit annoying. Let's check the tiding. To. The thing with white noise is that you often don't see that much difference 1-2. If I go smaller, maybe like five or ten. Funny enough, it blurs itself when you go smaller. So what we can do is what if we go, for example, for ten? But then we are like a filter with, like, a sharpening it. Something like this. Now, what I can also try to do to actually have the roughness also in these specks because then if we just press C to go to our roughness, these specks, they have the tiniest bit of Sorry, my voice broke up. They can have the tiniest bit of a roughness variation in them, which I think will look quite nice. And what I'm then going to do is I'm going to go ahead and I'm going to have my first roughness variation over here. This time, I'm going to make everything a little bit softer, in general, the roughness variation on plastic, I want it to be quite soft. The second one, I don't like leaks for this one, it doesn't really make much sense to have leaks on something that's not diagonal. So let's say, for example, grunge charcoal or something like that. We definitely need to go in here and just make it like less, but let's have a look at my roughness. Okay, so I can use this roughness to make it like quite a bit softer. Maybe set my grunge charcoal to, like, a tiling of two or three. Okay. So that looks pretty interesting. Let's go into our normal bumps and set them a little bit lower. So 0.02, no, 0.015. Okay. So we still have that shine over here, but it is a base. And definitely later on, what we'll do is we'll add a lot of additional roughness. Now, a little trick that I like to do when it comes to plastic, because I like those little specs as if that is like little like glistering when we have our roughness, we can go ahead and just duplicate our roughness. For this one, set the roughness really shiny to almost black. And again, try to go for like a white noise. I'll click on it. Um if we set this to like two, but then this time, we want to just play around with our contrast and balance until we get like these little specks over here, and at that point, we can also go ahead and increase them. And this way, when you look at it, when we actually increase it a bit more, you'll see you get that glistering effect that you often get with plastic. So don't make it too strong. Maybe also go in and set this one at the bottom, because this way, have a bunch of stuff overlaid on top of it. So here you can see that now. If we just push this out, here, it's like nicely overlay. We have these little specs, but then in between that, we have a bunch of interesting roughness, and that is starting to look already pretty interesting. Okay, so at this point, what I'm going to do is because this is pretty much the base metal, the rest is going to be like extra damages that we add in additional dirt layers, I'm going to go ahead and apply these materials in the correct order. Export it to Mum set, and that's where the chapter will end. So let's go ahead and just first of all, save us. Now, we have our painted metal. Square crater black, and then just go up here and in our polygon fill, I like to just set this two elements, and I just basically select everything that I want to be painted metal. Those are these things. This one, these ones and that is it. Next, we have our galvanized metal. Galvanized metal doesn't need anything because it's something that goes below the base when we start breaking up all of these edges and everything like that. So for now just turned off. We have our bare metal. Our bare metal is going to be on these little bits. This one, this one, this one, There we go. All of that stuff. It's also going to be. And if we just click on the UV tool, we can actually select just the UVs. It's also going to be on the wheels over here. I'll go back to element select, and it's going to be on the metal over here on the inside. There we have a rubber, Black mask, click on UV again and only select over here the black mask. Then we have a rough plastic, again, UV, select this plastic. And you know what I'm going to do? In the rubber. I'm also going to add this one in the rubber over here. Now, at this point, the only thing that stands out to me is that the rubber is a little bit too dark. So I'm just going to go quickly in the color of the rubber. And maybe also give it, like, a tiny bit of purple. Something like this. Also, I feel like the norm map information is a little bit too strong. Let's go in here and set the height map a little bit lower. Yeah, we definitely need to work more on the wheels. I should have scaled them up in the UV. I might still do that later on. Also, you can see here a really strong smoothing problem, but that problem should not exist when we actually export this. So at this point, let's go ahead and save scene and do a new export. Here we go. Go ahead and go inside of Mamoset. And then what we can do is we can just drag in all of these new maps that we have created. So I'm going to send my obdo back to full coolor I'm going to drag in my base color, my roughness and my metallic over here. And now you can see that this is now a base. We can see that definitely like some of these colors, they are a little bit. Oh, what's that? I think that's actually just like the lighting. Let me just check. Yeah, here, see? It's one of the lights is being a little bit messy. But in general, if I just go ahead and rotate this, so what are the problems that we need to fix next time? I can see well, over here that pretty much solved especially when we add some dirt and everything, you probably won't really notice that. We definitely need to work on our color a little bit more, our color is close, and of course, we have different lighting conditions in here, but it's still not exactly the point where I want it to be. That's something we can work on. Over here, I want to go ahead and increase the resolution for these bits because I'm just not really a big fan of it. Yeah, I can live with the smoothening over here in those areas. So it is a good start. So in the next chapter, what I'm going to do is I'm going to go ahead and balance out the colors a little bit more. I'm going to fix my resolution over here, which is just something that's good to update now. And once that is done, we can go ahead and just continue with the rest of the material. So let's go ahead and continue with this in our next chapter. 32. 31 Creating Our Container Textures Part3: Okay, so we now have a pretty solid base. So what we're going to do is we are just going to balance things out a little bit. So let's go ahead and go inside of marmoset over here and let's have a look. I want to make the top a little bit darker. One thing we do need, of course, keep in mind is that inside of Mamoset we do have some additional lights, so you can see that the lights are increasing like the brightness of our materials, logically speaking. So just keep that in mind that it doesn't have to be absolutely perfect to real life. But if I have a look at this, the wheels can be a tiny bit darker and the top can be a tiny bit darker. Actually, yeah, just like in general, the pieces also. So let's just go ahead and get started with the bottom. So here we have our wheels. Let's make you tiny bit darker. We will have painted metal. Once again, just like thick, tiny bit darker. And then we have our plastic on the top. And for the plastic on top, I also wanted to make the normal map less strong because it was a little bit intense like this. And so for the norm map, let's set this to 0.01. Let's have a look because when I was looking up here, you'll see that was quite intense. But let's say that that should be about win. If you want, you can do another export, just to make extra but in general, I'm not too worried about that. Here we go see. Now it's a little bit darker and now it's a little bit more balanced. Awesome. What we're going to do now is we are going to get started by just continuing on with our texture. Now, for this, I think the best thing that we can do is to, first of all, go ahead and do a general dirt pass on everything. And once we've done a general dirt pass, we can go in and we can do some more specific dirt like you can see over here with all these damages and stuff like that. One thing that we also need to keep in mind is that this container, we will probably have a few of them standing next to each other. Because of that, we need to be a little bit careful. We need to make all of this damage quite generic, so to speak, which means that when you have a few standing next to each other, you won't really notice that it is exactly the same dirt over and over again. Basically means that stuff like this, these really specific damages here, we probably won't be doing those just because it will not look very good. So anyway, let's go ahead and get started with just some general dirt passes. And these dirt passes will be for the body, and then they will also be for the top. Squad and go up here. Call this dirt. Let's start by simple fill layer. So the first dirt that I always like to do is just some occlusion dirt. Now occlusion dirt is going to be a little bit funky on the inside here, but we'll just see how it goes. So OCC dirt. And this is something that I tend to art everywhere, most of the time. The only difference is that now we have two materials that have quite a big difference in darkness. So we'll have to see how it looks. Let's go ahead and only have our color and our roughness. Make your roughness quite dull because dirt is often not shiny. And for the color, we can keep it to white for now. Artery black mask and let's go ahead and go in here. And now what we can do is we can go in and we can grab a dust occlusion, for example. And just apply it on it. Here, this is what I mean. See the entire inside is now basically occlusion dust, which is not very good, but we'll work on it. So this is what we have right now. I'm not too happy with the grunge, so let's just go ahead and press U custom grunge. And then down here, you can just enter any crunch you want. So let's do something that looks a bit like dirt like this one over here. This is what? This one is grunge, dirt, tin. Yeah, that feels already a little bit better. I'm also going to go ahead and turn on triplanar, so we'll just apply triplanar mapping. And now what we can do is we can play around a little bit more like the levels and the gringa mount and stuff until we get just like some general dirt inside of our occlusion. Maybe like, play around a little bit more with your grange amounts over here. Nice thing because we baked all of these details down is that we also get little bits of dirt and everything like these baked details. Now you can see over here that it's not perfect, but that's just because they are also quite thin, there wouldn't be that much dirt in there. On the bolts are correct. I just accidentally forgot to move the bolts, but that should be fine. Let's see. Also over here at the base, I think that works quite well as just the beginning. Now what we're also going to do is we are also going to go ahead and add a paint layer. Just go to your brushes. Now, I have a bunch of brushes over here that I tend to use that I actually made myself. They are here they are. You can find them just on our channel if you want to. But yeah, actually, you know what? I'm going to use one of those. It doesn't really matter, but I need something that like Looks nice. I then press X to flip out my color. And now you can see that I can basically paint out. I need something that's like really soft. Ah. That one is quite soft. Maybe this one. Now let's do this one. I'm just going to do this, and I'm going to set my size quite a bit larger, but I'm going to set the opacity down. So here you can see that basically what I'm doing. Actually, you know what? No. Sorry, I don't like that. Let's keep my opacity up, but let's set my brush flow down because I want to get differences in opacity whenever I go over this. And I want to kind of keep the occlusion near the top. I quite like that. But I just need to kind of paint out some of these over the top details, you can see over here. And, of course, right now you can see everything really, really well, but don't forget that we are, of course, going to change the color. So if you can hear a lot of clicking in the background, I'm just basically doing this with my mouse, something like this. Now if we go ahead and go in here, we can now go and grab a color. Now, in the color, you might often be tempted to just do, like the Whereas, that's annoying. It's annoying that you cannot. There we go. Click away that window. You might be tempted to basically just go for brown, but I recommend that you actually go for something that's a little bit more whitish over here. It can have a little bit of browning in it, but don't go too over the top. Maybe something like this. Now let's also have a look how it looks over here. Here, that is fine. Now the next one that I wanted to do is I wanted to have some general dirt that's mostly going to be like this panel over here. So let's go ahead and duplicate this. And I'm going to call this one it underscore what shall I do? I'm just going to call it nsctnsc 01 for now because I honestly have no idea what I will do with it. Let's see if we can find something that's a little bit more interesting for this, something that has to do with like dust or something. So let's see dust soft to yeah, that actually does look quite nice. So I basically just want to mostly like these areas. I want to just have some general whitening and softening and stuff like that. Now, I don't like how the texture is a little bit Well, like that. So let's go ahead and see if we can maybe throw on a different texture. What about charcoal? Charcoal is interesting, but let's try a few more. So we have charcoal. We have some dirt specs. No. I wish I could also I should be able to go in texture and set my scale down a little bit like this. There we go. So that's why we are just tiling it a bit more. Now if I do charcoal, it is pretty interesting, but I like to always just triple check, make sure that there's nothing else that sometimes I just know which crunches will work and which ones will not. But in this case, it's mostly just trial and error. Okay, yeah. So let's go for charcoal. Let's then go ahead and set if we go up here, our balance down quite a bit. We have over here curvature. Actually, I want to keep the curvature on a little bit so that we keep this at the top. And I'm going to go ahead and play around with my balance a bit more to have the charcoal break up some stuff a bit more. Texture. Now, we don't need to play with that contrast, maybe just a global contrast. Yeah, there we go. So the global contrast a bit. And then what I want to do is I'm going to tone down the color. So that it's more like something that's, like, just barely visible like that. Now, next thing that we want to do is we also have some more like edge damages, as you can see over here. So I guess I will call them like plastic edge damages or something like that. So let's add another fill layer. And then later on we will also have some edge highlights, but that will come in a bit. So plastic edge damage. For now, just only use the color. Black mask, and we can once again just add a generator once I just moving my microphone. And I just want something that will kind of like mask some random damages on the edges, and then I will probably blur it because then you get the effect where you get like this smooth or soft mask. And we probably also need to go in and, like, do some manual painting. Edge scratches. Ooh. It's a bit much. Etch is dusty. No, that one is good for some general. Let's actually duplicate this and hide this one because I just want to keep that in mind that I can use that. But now I'm mostly just looking for something that breaks up my edges. Edges damage. Yeah, that sucks. There are other ways that we can do it. Like we can just mask out the edges and then break them up. But before we do that, I want to quickly check. So basically, another way that we can solve this is we can go in here and add a generator or you can right click and add it here. And then if you go in here, you can add a curvature map, which is this one, which shows us the curvature. Then, of course, we just push down the balance until it hits only our edges over here. So now we basically just have all of our edges selected. And it technically also works over here if you want to add some general damages. But let's first of all, just focus on the plastic because metal damages are a bit different. Now let's go in and add a fill layer, for example, on top Then if we go grab something to basically break this up. We want something that's a little bit stronger, maybe crunch map. Which one is it? 001. If we set the tiing to maybe three, and then you want to set this to, for example, multiply. Now you can see that here if we just play around to the contrast and everything, we are breaking up these edges a bit. In my curvature, can I maybe play around, no, I don't think I can play around too much with anything else. Also, you curve to. You can also use a texture, I believe, which will break things up, but I'm not completely sure. I've never actually used it. Well, I've used it before, but really long ago. But anyway, we don't really need it. I always do it this way. So let's say that we have some type of damages like this. If we then go in and add another filter, and this time we blur it we also do need to be a little bit careful about she can see over here with the seams. But let's say that we blur it. Yeah, can I willing not push this down 0.005, maybe? Okay, 0.02. There we go. So I just push it down a bit. So now you can see we only have these damages in some small random locations. I will art this into a folder that I will call it just to have specific everything that has to do with the lid specific. Over here. Because what I can do is I can just go ahead and add a black mask. If you want, there's multiple ways. You can just select the lid, or what you can do is you can grab your rough plastic over here, add an anchor point to it, and then you can reference that anchor points in here by simply adding a fill layer anchor points and just select the rough plastic one. This way, it just becomes again a normal mask. But in any case, we now have this. We can go ahead and get rid of the color, go to height, and then push our height down a little bit. We want to make this quite subtle. You can see here you can just add some very soft normal damages. Just some niceness to it. It's not as good as Zbrush, but it still saves a lot more time than Z brush. I also had this one, which I quite liked because of the edge highlights, I quite liked it. I'm just going to play around with my balance a bit more like this. I'm going to go ahead and make this also a rougher normal map. What I will do is I will go ahead and maybe I'm going to go for something that has a little bit of color in it, like a darker bluish color to kind of give it a little bit more color variation in our mesh. And for the rest, you can always go in here and just change the opacity to make it more or less strong. So something like this. Now, another one that I quite like to do is we have over here our plastic edge Dvages and this one I will call Edge highlights. Another one that I like to do is if we just duplicate our plastic edge damages and get rid of the blur and just need to read it out a little bit and play around with your grunge map. This what we can use it for is we can use it to get some very soft highlights in our edges. What I mean with this is we turn off the height, turn on only the roughness and make the roughness just a little bit shinier than the rest. This way, when we go over it, you can sometimes just notice that extra bit of shine. I also want to go in here and I'm just going to quickly add a paint layer. I'm going to paint out this area over here on both of them. Also paint layer paint out this area just because there is a seam there. So that's why I don't like it. I'll do the same over here. You just want to avoid these dipe of damages on seams. So something like this, for example, we now already get some interesting surface variation. The next one would be to get some general directional dirt that's mostly in these areas on the side. And for that what we can do is we can let's see, this is our lid. We can probably steal our edge highlights, so let's duplicate that one. Throw it over here at the top. Get rid of our highlights, and for now, let's just make this once again white. And you want to just add a fill layer and then grab something that has some direction in it. Like for example, maybe this one here. We want to rotate it. Actually, can we do ti player projection, tiplyar projection, and then set the rotation to 90 because we want to have it sideways. Set the tiling higher, maybe like five or something, and play around with your crunch. I don't like this one. Let's try something different. This one looks a little bit better already. Here, see, you kind of get the same effect from this. What I would do is, so I have this one. I would then go in and add maybe like a sharpen filter. Give it a little bit more sharpness. And then in here, we also want to go at them, we want to be able to paint in where we want these. I'm still someone that likes to just throw things in folders and call this edge, paint a black mask because that way I can just go in, grab something really soft in this case. So something really soft would be well, I don't just want basic soft, so maybe this one. Mm. Maybe if I set the flow a little bit down. There we go, see. And then I can just go in here and wherever I want, see, I can just paint in some of these damages, especially around the corners, would be logical, because that's where people tend to bump into it. Maybe also over here because there's like a lock here, so maybe a bit more there. You, we are at the corners again. It's a bit too much on the top, so I'm just going to paint it out. And like that, we can just add some of these extra damages. It's looking pretty good. Is there anywhere else where I want them? Maybe like here on the top a little bit, since we have the layer anyway. Go to make it a little bit less over here because it's a bit too much. Yeah, there we go. Awesome. So we have this one. I'm going to sharpen it a little bit more, and then I'm just going to try and match this color a little bit. So it's going to be a color that's a little bit more brownish. Something like that. I think looks quite good. There we go. Now, another one that I often see and it's almost identical to a grunge map that I know, and it is this one. If we just duplicate this 1 second, duplicate this. This can be overall grunge. Overall crunch. But it's one that I happen to have made for Adobe. So it should also be included with you guys. It's this one? I forgot the name. Crunch scratches. That might be the one, but I feel like it looks a bit different. There was one that I can remember looks almost identical. So yeah, it might have been that one, actually. Yeah, I think that's the one. Then it doesn't look exactly Is identical as a dart, but maybe it's just like the preview over here, see. So it has, like, these little specs and these little dart bits and everything like that. And if we just go ahead to set the tiling, maybe like four or something. And then again, like a filter with a sharpen you have to give it like some of these specs. I think that looks really cool. And what I'm going to do is I'm just going to go ahead and make it a little bit darker. I'm going to set the grunge overall grunge a little bit down. Something like this, like 50%. And then just go in and arter paint. And I just like to paint this out on the really large flat surfaces, just because it feels a bit off to have them in those areas, like you would think they would just build up near the edges and stuff like that, something like this. So there we go. That's already looking pretty interesting. Of course, we still need to have some branding on here, but it's a good start, I think. Now, if we just go ahead and now move back to our base body over here for a base body, I quite like those dents and we can actually replicate that. So that's the lid. This is like the overall stuff. Let's make a new folder called Come on, body. And in here, once again, just add the black mask and we can just grab our painted metal and add an anchor point to that. And then reference that anchor point in this folder. There we go. So for the body, first of all, let's just do some overall dense. So we can go ahead and add a fill layer, call it dense and only have it in the height and set the height to the minus. Then you want to add a black mask with a fill layer. And in here, let's go ahead and go to our Granges. We want to have something that's like some kind of crystals or I don't think faults more like, where are you? Like crystals over here, crystal one. So we grab, for example, like a crystal one. Let's grad and just actually look, and we balance out, as you can see over here, just a general balance. Then what we do is we add a really large blur to it. Like this to turn it more into dense. Also go ahead and set the crystals a bit smaller, two. Something like this. Now, when we go ahead and look at our height, you can see that now here, you can start seeing the dense a bit more. What I'm going to do is I'm going to go ahead and set this a little bit higher. Then for my dens, I'm going to go ahead and I'm just going to add, let's just add the paint layer. Add the paint layer and go for just a normal basic soft brush. Oops, and just press X and just get rid of it near the edges, paint it in and out here and there, just like some of these locations. Make sure that it's actually located inside of our body folder. I don't know why it shows up there. Maybe because the preview doesn't show up like that. Just ignore me. Basically, I'm not painting. Go ahead and paint out in some of these areas, may probably not have that like the bottom And just make sure that you only have, a little bit left like this. And now to have a look, so without W. See? I just adds that little bit of extra bumps and damages and everything and just reads a little bit better. Okay, so we've done that one. Now I think what we should do in the next chapter is we will start by the big damages that you can see over here, and then we will just keep refining our texture until it is done. In the meantime, I will tell my artist to start creating some graphics for us, so he will also go ahead and focus on that. But for now, let's just go ahead and continue on to our next chapter. 33. 32 Creating Our Container Textures Part4: Okay, so what I want to focus on now is I want to focus on creating these actual damages that you can see here with all the paint and everything like that. So this is going to be a balance of hand painting and also using some general generators. And yeah, that should be about it. So let's start with this one over here because this can be like our quality benchmark, so to speak. So first of all, we have over here a painted metal, and then we have a galvanized metal. What we want to do is we want to go ahead and just have this galvanized metal on top. Need to double check something. Sometimes, I like to turn on and off the painted metal to see if it's not like intersecting or doing anything strange with it. I'm also going to make it a bit whiter. Something like that looks a little bit more logical. And it also means that then I need to go in my color variation, and I need my color variation, also a little bit up. And maybe also my specs, my black dots. Let's go ahead and you said this in the opacity. There we go. Just that we have some kind of a base. Now what we can do is we can go ahead and we can add a black mask to this. And we probably want to get started by just like some type of edge damage generator. And then my idea because we have so much damages here is then just grab a really harsh brush and kind of paint in and out wherever I want some of these areas. So let's go to our generators and just have a look and see what we can find. So we have concrete edges, look, for some reason, my scene is a little bit slower. That's a bit strange, but oh, well, it should still be fine. Edge is strong, maybe. I don't know, Edge is strong, but if we then can maybe, like, break it up with a texture or something, over here we have the rust fine texture. Mm. I'm not sure. Let's just keep looking for now. See if there's anything interesting Etches Uber. Yeah, most of these edge generators, they don't look super amazing, to be honest. But I just want something as like a beginning to save some time. I guess maybe edge is strong, because I don't think there's anything else left here. No, we do have the edge scratches, this one, sometimes if you lower that down, it creates some interesting effects, but a bit like this. But I feel like at that point, I can just as well use the edges strong. So let's go ahead and use Edge strong. The sharpen, we can get rid of for now, and I want to go ahead and just play around with my balance, maybe increase my texture a bit to have some additional damages in here. So let's say something like this and maybe my curvature, I can tone down the curvature a bit, that's not all over the place. Then I want to push my texture out again a bit more. The general idea was, let's say that we have something like this, and then we add a paint layer. Then if we go in and paint I pick, for example, maybe the charcoal fill frame. If I now just switch to my drawing tablet, my idea was basically to then go in and, you know, I just go over here to basically go in and paint. And sometimes you can also press X to, like, paint out and to just paint in some of these details as you can see, like this. Then just see what it looks like. So what I will do is I will go ahead and I will just paint in, like, a little bit. Oops. And once that's done, I will just preview it inside of marmoset. So here you can see that I on purpose, grab like a square brush to give it like this square look because it kind of feels the same when we look at, like, a real life reference. And also over here when you have these areas, you want to make sure that you don't stop on a seam. So we can do something like this. And then later on we can also do a little bit of breakup using a grunge. Over here, I want to, like, for example, paint this out in this area. Here, if I do do something like this, just to see, I always like to just start by creating a solid base and then continue from that point on. Maybe actually not have a lot of stuff in here because it wouldn't make sense to have so much damage. Like, most of the damage should happen on the etches over here. So we will probably also end up, painting out a lot of areas like this where we don't want to actually have any damages. But okay, let's say that this is just going to be like our preview template. Now let's go in and maybe add one additional fill layer and just grab some type of grunge to break this up just a little bit more. I know that over here we don't have most of this is really sharp, but I want to see if I can find an interesting balance. What exactly would I use for this? That's a good question. Maybe some really soft crunch, not soft as in more soft as in not so visible. Let's try this one over here. L set this to multiply triplanar projection, maybe five maybe not multiply. Maybe like subtract. Yeah, so let's see if we just play around with this. Let's just see the difference before, after, before, after. Yeah, it does do some breakup, which is quite interesting. But then we would probably want to do another paint on top that just like cleans up some of these seams here and there. So if I have this and let me see if I just like play around with my opste? No, I think opstes here. So we will probably then have one more paint, and that one is mostly used just like ops one button. So that after this, we just scale this down, we can just paint in some of these like seams because you do not want to have any stuff on the center of the seams. But that will just give us some more organic breakup. And then, like over here, we can, for example, get rid of these really small specs. There we go. Okay, cool. So the next thing I'm going to do is I'm just going to go ahead and go inside of my galvanized metal. And I want to set the roughness a little bit duller. And I feel like I don't really see much of the specs of the flakes. So I'm going to set my flakes a little bit more intense like this so that we can kind of see it a bit better. Then we also want to have some general dirt probably in here, because we want to have the dirt under like only on our metal, it would probably be best if we simply create a new fill layer, general dirt. And for this fill layer, we want to have it with our color, roughness, so the roughness lower and our metal. So dirt would not be metallic. Dirt is never metallic. So we can go ahead and to black master this and grab probably just like a simple fill layer with some type of grunge. And that should go a long way. Let's try this one over here. Grunge dirt, maybe play around with the contrast, try playing a projection. So that like four. Just go to alt click so that I can, like, figure out, I want to go a bit smaller. Let's go like, maybe even like 20 in the tie Break it up a bit. Add a filter with, like, a sharpen. Here we go. Give that little bit of extra specs. And now I have a press M and then go in here, and then we'll set this one to be like a more brownish dirt. Off on, off on, yeah. That already looks a little bit better. Okay, nice. So we got that one. Let's go ahead and just do a quick export, see what this looks like inside of Momset before we start doing the painting process, which I will probably do as a time maps because it will take quite a while. But let's see how that reads over here. It reads well. Like, it feels a little bit low resolution. That low resolution feel is most likely Well, of course, we are looking at this very up close, but that low resolution feel it's coming from somewhere. I don't know if it's like the dirt. But, yeah, it might just be the dirt because I feel like everything else is not low resolution. Over here, also like the mask painting, it's not that low resolution, but if you want, you can just twin a sharpen filter in here also. We are pushing quite a bit of how would say it, we are pushing quite a bit of detail into like a limited resolution. However, this is just how it normally would be. One thing that we do need to keep in mind is that normally, you don't look at things this up close. You look at things like from this distance, and then the resolution is totally fine. It's the same with the wheels. But now I decided not to change them because it would be quite a lot of work. Tax change the wheels, but I feel like if we don't really get closer than this, it would be totally fine. And the taxi density is still somewhat correct. I also feel like the terrorist is balance where because it goes from metallic to non metallic, it has this really strong cut. Here you can see metallic to non metallic. So what I'm going to do with that is, well, that's actually a good question. What am I going to do with that? Because normally, when it comes to metallic, or you have metallic or you don't have metallic. Now, that is normally the rule, but you can often kind of, like, balance things out a little bit by, for example, adding another levels just on your metallic and let's see if any of this? Oh, it doesn't do much. Yeah, here. And just like, push it just over the limit, which will kind of tone down the metalness look of it, because sometimes just blending between the two is quite tricky. And also, you want to maybe make sure that you don't make the bottom metal too shiny, but that doesn't really seem like a problem for me right now. I am quite surprised how low resolution, it feels while in here, it actually doesn't feel as low resolution. That's a little bit strange to me. I don't know if there's maybe some kind of filter going on if I just go in my image came where I uses it called clarity? Yeah, the clarity does add a little bit, but I know it's just surprising. Also, one thing that I want to keep in mind is that we have our general dirt over here. Let's add a paint layer below the sharpen and use this to get rid of the dirt on our seams over here because else once again, we will see the seam so I would say that at this point, we do have a pretty solid base. Also, something that you need to keep in mind, which I totally forgot, is that right now I am previewing this texture at screen resolution that's lower than four K, which means that we don't actually get the full resolution out of the screen. If I would go in here and I would make a test render, which I often like to do. So in images, let's make a test render. You will see that the resolution looks a lot higher, and that's the true resolution when you're looking at it in four K because I would be rendering out a four k image. So if I go ahead and set this to 01 and I will just do like a quick render, now if I have a look at it and opened up here, you can see that it's smoothed out quite a bit and it reads quite a bit better. Everything. Of course, over here, these specks are really not nice, we will get rid of those specks and we'll make sure that also we need to make this a little bit harsher. I would almost says go in here. And this crunch breakup that we have over here. Let's play around a little bit more with, like, the contrast and balance. But for the rest, in general, it reads quite well. Maybe make it also a little bit darker. So let's do that one last. Just go near, make it a little bit more darker again. Something like this. And now what I will do is I will go ahead and kick in the T labs, and we are just going to paint in the damages pretty much the same way as we can see here. So we'll paint it in here, a little bit in here. Over here, some of these scratches, we can just, like, or use a scratch crunch or we can just also paint in something. But in general, there isn't too much damages, so you can also remove a bunch of them. So let's go ahead and kick in the time labs. M. 34. 33 Creating Our Container Textures Part5: Okay, so the base painting is now done. Now the next thing that I want to do is so we can now go ahead and add our grunge map. And then we do also have over here paint. And with this paint, if you see any seams, they might want to just quickly go over them, but I don't notice too many really bad cases. I need to keep an eye out on this, but it might not even show up in Moms set, so But in general, that's the general overview on getting these extra bits of metal in here. And also, what I wanted to do is I wanted to go ahead and I wanted to just add some additional scratches and things like that, imperfections. But I don't want to have those imperfections as actual metal because they probably won't look very good as actual metal. We do have some scratches over here that we can definitely add, but it's more like just some overall white scratches that I wanted to add on top of this. So for that, what I can do is we have a galvanized metal over here. I can probably go ahead and art those in dirt. The only thing that I'm thinking about is that over here, I do want the art, maybe in this paint some type of damages here. Now, what you can also do for that is you can also go ahead and use projection mapping and use a grunge map to basically paint in damages. You basically go down here to projection mapping and you grab something that has, like, some scratches or something like that. Need to have a look which one will work best for this kind of stuff. I don't know if this one will work, but we can try. And then what you can do is you can just go in here and see you can paint in some scratches. Now, this one, I don't really like the look of it, so let me just do that and find something that's a bit different. Maybe something like this. Now, we have a lot more grunges internally and a lot more additional damages. I just don't really want to use those damages in here, and that's mostly just because, like, I don't want to use too many resources that you guys might not have. That's more like what I mean. So over here, you can see that I'm just using this grunge and I'm just moving it around to basically get some type of streaks and damages. And he to be a bit careful because, of course, we don't have a massive amount of resolution. Once we've done something like this, we can go in and we can grab just some type of grunge and paint out some areas that might not look very good. There we go. Something like that, for example. Still not super convinced, but it's a start. So anyway, in our dirt, we have over here our body. I'm going to go in and I'm going to add a fill layer that is only color and some roughness. That's fine. Also, let's at the metallic all the way to zero. Do we want to do that? No, no, let's not touch the metallic. But what I'm going to do is I'm just going to call this one scratches, for example, Arte Black mask, are fill. And we're probably going to use the one that we just used also, which is this one over here. And if I said this to try plainer, scroll this down, play out a little bit more with my contrast. Hmm. Tone down the intensity. Yeah, I think something like that already goes quite a long way. Yeah, because if I set this one to metallic, it often just Okay, for now, it reads well, but normally it doesn't read very well. I guess it reads well because we don't set our roughness to be very shiny and everything is, like, very dull. But in general, that should work quite well. So let's have a look. What else do we have? We have some branding. We have some general like leaking maybe. Oh, yeah, let's do that. Let's duplicate our scratches. Let's call this leaks, and it's set it this time to be a little bit more of like a brownish color. And now in our leaks, what we can do is we can go in and we can publish, again, use projection mapping with like a crunch map. Now, at this point, it's really good if you have a bunch of leak crunches like we have over here. However, we cannot include these because we did not create them ourselves, sadly. We do have some tutorials on YouTube on how to actually create these type of leaks and stuff like that. I'm just having a look and see if there's a stencil that we did create, no, sadly not. In that case, what I'm going to do for now is I'm just going to go ahead and I'm going to grab, for example, this grunge over here, which is included for you guys. You want to place this roughly in the location where you want it to have or to have it. I'm going to set my contrast up a bit. Et's remove that last one. And like that, we can just add some general leaks and dirts here and there. And, of course, I will go in and later on balance it a bit more. Just give me 1 second. I do also not want to make it too strong. So right now it's still quite strong, so we might want to go in and reduce the collar and stuff like that. So yeah, let's go for something like this to get start with. Let's make the collar. Actually, like a little bit of bon colours fine. I'm going to set my roughness up a bit. And then just in my opacity of my base collar, I'm just going to tone it down a bit more. There we go, just to give some especially when we have a roughness, you can see it, just give some interesting variation to that, too. Now, one thing that you also need to keep in mind is that often when we are working on assets for production, we are not so much creating hero assets, so to speak, meaning that we don't keep working on it on and on and on for hours on end to basically get the absolute best possible model. Instead, what we do is it might sound a bit stupid, but we just go for, like, good enough. And that's something that we do need to keep in mind. Also, something that we want to keep in mind is that I want to go over how we do our feedback rounds. So what I will do is, at this point, I will probably ask for feedback just because I know that there's a bunch of other stuff that I can do. Oh, wait, I will add the labels and then we'll ask for feedback. I know there's a bunch of stuff that we can do, but of course, normally, I'm the guy that gives feedback. So if I just go ahead and, like, keep working on this, then in the end, you wouldn't see the feedback rounds because I would just process my own feedback, so to speak. Now, there's two more things that I want to do. One is that I have somewhere here. Some really intense, I think it's damage, and I do not know where it is coming from. It's not from the body. It's not from dirt in general. A, it's from the galvanized metal. That's interesting because that one should not even be in here. If we just go ahead and open up this mask. Okay, let's go ahead and just in our galvanized metal. Let you set the color to black, turn on paint, and just get rid of all of this. We don't want that. We don't want it on here, we just want it on our body. I guess because of the way that I painted it out, it kind of like left over some pieces. But that should do the twig. If I now press M to go back into our model view. Yeah, there we go. That works a lot better. Okay, so what I want to also do is over here, we have like our metal and it's so currently perfect and everything, and I don't like that. So I'm just going to go in my metal. I'm going to get started by just setting the roughness a bit lower. Then we have a roughness variation, and then what I'm going to do is I'm just going to go ahead and let's see. So our roughness variation Let's play around a bit more, first of all, with the resolution. So let's sketch to 15, maybe increase the amount. We have our fingerprints, which is kind of like at like a correct level. So that's fine. Maybe I want set this crunch a bit duller. I think I'm just going to go ahead and add some occlusion dart in here. So if we just go ahead and duplicate our occlusion dirt like this, but throw it into specifically our base metal. Going to make it just like a really bright red color for now. I'm a bit surprised how slow that my scene is running. I think I just need to restart painter, so I will also do that in the next chapter. Anyway, bright red color. Quite my dirt. Play around with it until we get something like this. And now we can go ahead and tone this back down into like a manageable, like brown darkish color, for example. Maybe also just set the roughness not as low. Something like that already works quite a bit better. What I'm going to do is, I'm just going to add another fill layer that I'll call darkening. I'm just going to alt click on the color and set the color completely to black and only have this one in this rod. That we basically give this cylinder a slightly different intensity. Then what I can do is I can just go ahead and I can go play out with my base color intensity to make it a little bit darker than the rest, just to make it stand out a bit better. Something like that. Okay. So we've done those things. Now, the last thing that I want to do is to add some branding to this. And after that, I will go ahead and ask for feedback. Now, my artist was kind enough, and I will include a bonus chapter where he will show how to create this. He was kind enough to create, like, a bunch of, like, branding and logos and stuff like that for us. So we can just instantly use those. Now, what I like to do for the branding is often I like to have it just below our dirt over here. Create a folder, call it branding. Now we can just go ahead and we can import just by dragging in all of these pieces, and just write them as a normal texture. Just press Import. And let's get started by the first one, which is going to be like our white logo. Let's start by just having a simple fill layer. Set the roughness a little bit lower. And oh, yeah, I also wanted to add some height to my metal. We want to go ahead and give this color and roughness. Yeah, let's just do color and roughness. I feel like this one would pretty much not have any height. White text, the black mask. And then what we can do is we can just go in. And if you want, you can just it's a new technique inside of a mask inside of substance painter, where we can actually have this piece and we can then rotate it around just by dragging on our texture. And it makes it a little bit easier for us to basically just move it around instead of like needing to paint it, which is quite non destructive. Like that, we can very quickly do like, Hey, this is waste matters. That's what we call it waste matters because it's for our environment and our environment brand is called scant matter. So that's why. I totally forgot that it creates a new fill layer when we do that. So we need to kind of go and play around a little bit more with the text, maybe make the text a little bit brighter, so that stands out a bit better. And then later on I will add like a grinch map also to break things up a little bit. First of all, the next one is going to be this one. Um Do I want this as a mask? Yes, no. I can add it as a mask, but then I need to add some additional stuff. Let's just add it as like a base color. We definitely do need to edit this because it's way too dark right now. But let's say that over here, we have it in our center. And for this one, so let's throw this again in branding. I want to go in. Let's make the Oh, sorry, the roughness, of course. Because we don't have a mask, it would, like, change the entire roughness. But instead, I'm just not going to add the roughness because I'm too lazy. And I'm just going to go ahead and set a filter to color and add an HSL filter, which allows me to basically control the lightness a little bit here, so that it feels like it's not standing out too much. I'm not too sure yet if I really like this look, but we'll see. Now, next, what we are going to do is we are going to go for let's see, over here, we want to go for this logo. Let's art this probably also as a base color. This time, I need to just do some manual movement and stuff. Wh also want to do is over here. You want to also increase the depth. So if we go here, it's at the projection depth high. And try to make it as large as possible because else we sadly don't have a lot of resolution. Yeah, see here, we don't have a massive amount of resolution, but it should still be doable if we place it down here, add another filter HSL, give it a bit more star over here. And what I also want to do with this is I am going to paint in a roughness for this. However, I'm going to do that after I duplicated it. Moved over here. I will just do like a roughness paint for all of them, basically. So for now, don't worry about it. We'll just place them here. On the side, we also have one over here, base color. And this one, as you can see, it actually looks like it's just kind of like stuck on there. And we also probably want to do something with the height, but we can do that with the roughness. So first of all, let's go ahead and just grab this one let's see what would make more sense? I feel like just having something like this would make more sense. So I'm going to go for this one. Copy your HSL, and just paste it also in here. Paste layer, paste effect. Sorry. There we go. Now what I'm going to do is I'm just going to go ahead and do, um Rough height. I want to have my roughness, which will be a little bit shinier, and I want to add some height. And then what I'm going to do is I'm just going to go ahead and add a black mask. Now, if we just go and grab a basic hard brush, all I want to do. And I know that's a bit of like an old school way of doing it, but I'm just going to go ahead and paint in here. Just like roughly the places where I want to have this stuff. And then in our height, we can push the height up a little bit. Tiny tiny bit, like 0.005 maybe, just to give a little bit of, like, some height in there. And I can often just, like, quite quickly, set a size, click, click click click and click. Let's just go into the mask and paint this all in. But yeah, there are other ways, of course, that you can turn this into a mask, but often it just takes a few minutes. So it's like If I would have a lot of stickers, I would show you, different more complicated technique that involves anchor points and all that kind of stuff, but not for now. I think I'm not going to do anything here, just to give it a little bit more variation. Also, where is my label? Oh, there it is. Thank you. Okay, cool. So we got, like, a few of those labels now. I still feel like the labels are a little bit too dark. So I'm just going to push those up a little bit in our HS like this. And let's just go ahead and save and do a quick export. Then what I will do is I will send some images, and then the next chapter, we will go over feedback, and I will just show you the entire feedback process of how we work. So that will be like in between chapter. And, of course, I will show you how we have gotten feedback on this model because I think unless there's something drastic that I forgot, I think it's pretty much pretty decent. So one thing I do want to do is I want to go in and make a couple models of this. So I want to move this one, for example, somewhere here, then duplicate it, and also show the back. This way, when we take an image, we can have a few images that just show off the entire model, which is good for when we want to give feedback because you, of course, want to create some images for your feedback. Something like this. And he will probably say something like the back looks not very interesting enough. Add some more dirt and stuff around the wheels, maybe add some more dirt around here, maybe like improve some of the transitions between these two types of metal. Like I will let my senior artist give some feedback on this, just in general. But for now, to create our final images so that we know that we're going the right direction. Go ahead and save your scene. And now you just basically want to go in, set your camerangle, press bake, and I will pass the video. And let's have a quick double check. Yeah. Okay, cool. Now what we're going to do is we're just going to move this camera around and also create some close ups that show different lighting angles, so you might want to also rotate your sky around and stuff like that. Like this. And you just want to basically create a few images so that your lead or senior can properly see like, Okay, so this is what the asset looks like, and then they can give proper feedback on it. So I'm just going to go ahead and I'm just going to render out a few images. And the next chapter, we will cover feedback, which again, is a little bit different than just doing asset molding. 35. 34 Explaining How Feedback Works: Okay. So in this chapter, what we will discuss is we will discuss feedback. Now, as with any development, you often have a hierarchy. You have juniors, intermediates, seniors and leads. So unless you are elite and even elite gets feedback from the art director, but you often always get feedback on whatever asset you created. So we now over here have V one over texture. Now, there's a lot of polishing that can be done here, but I on purpose did not do that because I want to show you our feedback process. Feedback processes are different compared to which you use. So for example, we have our Jira over here. Many feedback processes actually happen here, like you add comments and there they add feedback. When I was, for example, working Ubisoft, the feedback was literally just your lead bulking up to you and just telling you the feedback. So there wasn't actually that back and forth. However, my company is an online only company or basically remote fully remote company, which means that we do everything via Slack. Now the way that often works is that we have over here our Slack, as you can see over here, and we have a feedback channel. In here, you can see that people are actually actively working on a bunch of stuff. Like, for example, here, we have created some doors and stuff like that. But in general, the way that it works is that we go in here and we type our message. We start with a link to the Jira, and then we tell the name and we tell what we have been doing. So this is TT. Wait, I can just copy the Jira name. Here we go. And then I can go ahead and do, like this. And I can say texture phase 01, for example. I cannot type. Sorry. Texture phase 01. Now at that point, I created a bunch of images, as I said last time, as you can see over here. Now, definitely I can see some weirdness going on over here and all that kind of stuff. But honestly, I will just leave it for the feedback. Like the wheels look very plain over here. There's also not a lot of visual dirt interest in here. This looks way too shiny, like there's no dirt here. This is looking a little bit strange, but these tickets are still not different enough you can see the norm map from the base through them. But there's a bunch of stuff that we can still do. However, for now, simply drag these images in and we upload them in here. Then once that's uploaded, we will basically go ahead and we will press Enter. So give me 1 second. Here we go. And then what will happen is me or my senior artist will pick it up and they will go ahead and give some feedback on this. In this case, Cobus is my senior artist. So of course, because it's Tutorial, I told him to just give feedback on it. However, just to show you an overview of how things normally go, let me just find, like, here, this is like a good asset. Now, this was a hero asset, so there's a lot more feedback. But basically, what you can see, so Santiago, one of my other artists, he created this asset, and this was the base asset that he created. Santiago is a junior, so often what comes with juniors is that you do need to give a little bit more feedback. But honestly, he did a really great job. So this was the very base. Now, what happens then is that we go into a thread and we start giving feedback. I just need to scroll up quite a bit because there's a lot of talking and everything going on. But just to give you a general overview, we have this and fix errors. And then I go in here and I give some feedback where I say, like, Hey, you don't need to have this additional line in your weight normals. Make this a little bit more grounded, over here, you can see that the buttons have a little trim around them, same over here. And for the rest, I just also talked a bit about just some additional details. Then goes back and he's like, Okay, cool. I will fix that. And then you will basically post all the fixes. And at that point, I say, Looking good, feel free to move on to your UVs. So we have different stages. We give feedback at the blockout stage, the final model stage, the UV stage, and the texture stage. Now, of course, we skipped a few of those stages because I was the one creating the model. But normally this is how it goes. We then go perfect. He will show me the UV. I tell him, in this case, to make the body a little bit larger because it's some additional detail. He will show that and great. Then what he does is he will go ahead and go to the texture in this case, Cobus who is also a graphic artist, he creates the branding for it just like he did for us. So he will add some additional branding, and then we have the first texture stage over here, as you can see. Now at that point, often with texture, we go back and forth the most. So here you can see that we actually have quite a bit of talking about the texture. So we have the texture over here. We just spoke about adding some balancing out the leaks a little bit and balancing out the colors a little bit. Um, reducing some damage here and there. And for the rest, he basically just goes over this and we go back and forth as many times as needed until we get the final asset. There was also some talking about, like, for example, the setting it up in reel and stuff like that. But in general, what you can see over here is that now he balanced out the final asset, and here we have our final asset ready to go. And at that point, he just also shows how the setup inside of in real engine, and we were just talking about some glass stuff. That's basically the general feedback round. You have these multiple different rounds, and you just keep going back and forth until you get to the right point. And this happens with every single asset that we have. Over here it is, for example, GLO bicycle. But basically, yeah, we have a lot of assets where we are going over that. Now, we are currently still in the blockout stage, which means that a lot of these assets, they don't actually have their final assets yet. So I would need to scroll back quite a bit before I can go over our actual final assets. And a lot of these assets are also made by external freelancers, which you will not see the feedback here. In general, what I will do now is I will go ahead and pass the video. I will wait until Cobis has given his feedback on this. And then what we'll do in the next chapter is we will go ahead and we will start by processing our feedback. 36. 35 Processing Feedback: Okay, so I have received my feedback, and it was mostly just like the stuff that I was already saying beforehand. So over here, as you can see, we went over on how to place Jira, place the name, and just some extra information with all of the images. Now, the feedback I got is this one. So 1 second. Let me just go in here. Feedback number one, the front panel damage seems to be a bit more extreme. Focus some breakup and focus on more damage on the side. So yeah, that's fairly true. Like I do like over here the small bits of damages, but it was a little bit extreme in some places. Over here, the normals are applied to the sticker. However, in real life, there's it's a flat sticker and the normal is not as intense. So just basically improve that, which, yeah, I totally agree. And by the way, this is all unfiltered, this feedback. Like, I did not tell Cobus to white this type of feedback, for example. So, this is just how it goes in real life. The front panel seems to be lacking some dust on top of the handle. Let's have a look. Dust, mostly here and here. Yeah, you just add some dust. Over here about the wheels to make them a little bit more visually interesting. Fair enough. And add some lines and stuff like that. The paint normal seems to be a bit much. So yeah, we can definitely reduce that and needs to be a bit more on this handle. That's totally fine. Add some more damages on this handle. So here the handles that stick out further, they hit quite a bit of damage. So there's also a lot of story down going on where because the handles are sticking out more, that's where often like things get hit against the damage. These scratches on the roundings of the lid give good storytelling. Yeah, that's true. I will go ahead and add some of those scratches. Sticker color saturation can be reduced. That's also fine. A little bit of more dirt breakup in the wheels is also fine and making the back panel a little bit more dirty. So that's all pretty good feedback. What we're going to do is now we are just going to go ahead and process the feedback, and in our case, after that, it will be done, so then we will actually set it up inside of unreal engine. So going back to substance Painter, here we go. A few things. Before I start processing my feedback, there was one thing I wanted to do and it is in my branding, I want to give it a white mask with a fill and just add the tiniest bit of a dirt or damaged grunge on here. Not that one. Maybe just like this one over here. Just to give it a little bit of additional. Let's press Invert. When we press Invert, we just invert the Grange map, and now we can just go in and maybe set this to ten and set it to triplanar. The goal is just to give it a little bit of imperfections. It's not able to get Oh, wait, it's because I set it to zero accidentally. I was already thinking like, why is it not working. So over here, now let's go ahead and play around with it. Here see? Just like a tiny bit of, like, just break up and damage. And yeah, at this point, let's just first of all, go ahead and go over our feedback. So the front panel seems to have a bit more extreme damage. So what I will do is I will go ahead and reduce that. I can go into my galvanized and just go into my paint, go over here and let's go ahead and grab my charcoal. I do not have my drawing tablet turned on, but I can just go ahead and do it by hand. I'm just going to go ahead and reduce the amount over here. I quite like having a little bit here and also a little bit here. What I'm going to do is I'm just going to make this a little bit less that we still have some damages going on. Maybe over here, let's say that we also paint out this and this part over here. Then also over here, once again, just reduce it a little bit. Yeah? That looks quite nice. Maybe over here. Here, it's fine to have a little bit of that. There we go. Cool. So that's a little bit less. And I also need to focus a little bit more on having some more damages on the site, which we have over her. I think what he was talking about is this damage. However, I personally don't agree with it because we need to make it modular. Ironically, you do see this damage a lot. So what I can do is I can add something here. I just don't want to make it as intense. So instead, let's go ahead and let's see if we can just do, like a projection mapping and grab like a grunge map to paint in something that's, like, really soft. Here. So Oh, do not use it in Alpha. Use it here. Oh, now the Alpha is annoying. 1 second. Because I accidentally replaced Alpha, but that means that now what we have is this really annoying point where the Alpha is too soft. There should be a way to reset it, normal. Well, I think you can reduce it, but let's just throw in something that has an Alpha. Doesn't matter too much. Basically, what I wanted to do is I just wanted to go in here and see if I can maybe, like, Oh, yikes. That's really strong. Set the contrast and balance down. I do want to get a little bit more contrast. Not sure if this M is the best one to actually use, but we'll see. Yeah, let's go for something a little bit different. Let's see. What else do we have? Just need something that has some soft specs or something like that. If I do this and then, like, yeah, that can actually work. Adding some additional like here, just like some specs and damages like that. And then if we combine that with maybe something. No, not that one. Nah, that looks too. This is a tricky one to figure out exactly which one would work best. Let's try this. But then I also want to do is I also want to set the flow a lot less. That's too much. Yeah, let's do something like this. It's like a few little clicks. Yeah, I think something like that that is enough to art a little bit of some damage here and there. And we can kind of see if it is too much or not and stuff like that. Also, since we are in here, one of the damages I also had art was over here where we just wanted to go in grab some damages. What I will do is I will go ahead and I will paint in over here, we did it already. So what I will do is I will paint in some base damages like that, and then I will go in and add the grind map to add a little bit more here. I didn't mean to paint all the way there. So let's say that we have some base damages over here, and then we can once again use projection mapping, and we can kind of, like, add some additional maybe go for something that is like more scratches or something. Let's try this one, which is our cobwebs grunge cobwebs, which is another one that I created. But you guys also have it because I created it for Adobe. There we go. Just like break up the really intense areas with something that's a bit more. There we go. Something like that. Let's go ahead and go to the other side because it would make sense to also have something here, maybe not as much. I can see over here that we also that our grinch that is sitting on top is cutting out some of the pieces, which is totally fine. Maybe not have too much damage also in here because at that point, most of these damages happen because you hit something. There we go. And maybe also have, like, some damage just like over here. Tiny bit here, and then let's go ahead and go get maybe something like this that looks quite nice and strong. I'm just going to paint in some streaks and stuff. Just to add that extra bit. That's a bit much of damage. Yes, almost. I want to go ahead and just add, like a tiny bit more on this side, and then I want to also go in and I want to, like, reduce the amount of damages we have here a little bit because it's a bit much. There we go. Okay, cool. So the next feedback is normals are applied to the sticker. That one I already knew about that one, that over here. The stickers, the back normal is still on here also. So what we want to do is we want to go in our branding, and first of all, we have our stickers sorry, our height here. I'm going to set this one a little bit lower. 0.004. And the annoying thing with your height is that often, if we go to height and said this to normal, it doesn't actually overt. It's a little bit annoying where, if we just go ahead and go to our normal view over here, see, it keeps the one below it. Now, what I can do is I can go ahead and I can just copy this mask. The reason I cannot use an anchor point is because our branding is above everything else. So we basically need to mask out in our where are you plastic Ruff. And then here we have our norm bumps. In here, we kind of need to just mask out this stuff. So if we just go ahead and just add a paint layer. I know that I said copy. I didn't mean to say copy. Sorry about that. I'm just going to do a paint layer with a really soft brush and just do this. That's all. It can be like super quick and messy because your bot notice too much. Although I do want to make sure that I'm painting in the correct 1 second. Now I'm painting in the correct one, okay? Yeah, we don't need anything there. So it was more about getting this kind of stuff. And then what I also want to do is so we have our branding that's a little bit broken up. However, I feel like the roughness, and I don't know if it's like, yeah, I feel like the roughness in here can maybe be a little bit I want it shinier, but for some reason, there's some really strong breakup going on, and I don't know if Oh, it's in the dirt. So let's have a look. So in our dirt, lid, over our grunches fine. The edges are fine. Just one of these here is causing this one over here. Is causing some problems. So let's add the paint and then press X and then paint out the roughness where we have our stickers because else it is interfering too much. Here we go. And then what we can do is we can go back to our actual stickers. And let's go in and set that roughness there we go a little bit lower. Something like that. Maybe also go ahead and set the height to 0.003. That's that one. Next one is the front panel is lacking some dust on top of the handle. He's just talking about some additional dust here. We can just go in our dirt, lid, grab a fill layer, color dust, color and roughness, set the roughness low, set the color to be a slightly brownish dust like this. Add a black mask. Normally, you can, of course, add some actual generator for dust. However, what I'm going to do is because I only want to have over here is I'm just going to go in and just grab like a soft like cement one. No cement one. I just need something that's really soft. First soft white over here also often works well. There we go. I just painted in quite rough first and then we of course, go in, hold eggs, paint it out in some of these areas. And maybe also over here because it's dust like that. Then what we can do is we can just go ahead and go in here and in our base color, just tone down the amount. There we go, like a little bit of dust. The next one is that the wheels need to have some type of breakup and something interesting in here. I totally agree with that. What I'm going to do is if we just go into our rubber, although we also use the rubber somewhere else, but for now, that's fine. We have over here our plastic rubber. I need something to give some lines or something to the wheels. What I will do is I will go ahead. Make this really simple because we have so little resolution to work with. So I want to go ahead and not make this too intense. Let's set our height in Black mask, and then for this black mask, we are going to go ahead and just grab something that's quite stripy. So let's add a fill layer and grab like anostrophic noise, for example. Now what we can do with anostopic noise is we can set our X amount. I think we need to read. Our X amount can be quite low, and then our Y amount can be quite high. I like to just say Y amount by resolution. And here you can see, this gives us some general lines. Yeah, I'm going to leave the X amount like this. So this will give us some general lines. Now, luckily, they're already in the right direction. If we now go in and add a filter with a blur on top of that, that's too much. 0.03 or something, and then tone down the height quite a bit. Now, the blur needs to be more. Something like this. And here you see from a distance that reads quite well. And you can choose if you want to also have it on the side or not. Yeah, it looks like if we go into our reference, it looks like it's on the site. Let's actually look here. Like the sites also have it. And then what we can do is we can also add some general colors in here that will just give us some little bits of streaks and stuff like that. So we have this one. Let's go and maybe, we cannot add a color here. Let's duplicate this wheel lines dirt. And for this one, let's go ahead and have it only in color. And then what we need to do is we need to first of all, in our anostrophic noise and then blur, let's go ahead and add a levels and then push it in so that we only have a few lines over here, and then we can add a fill on top with some type of grunge to basically break it up. Here we go, this one is grunge, dirt, tin, for example. Doesn't matter too much. I'm not too picky. Set to multiply. Maybe set the tiling to like five or something, and just play around to your balance. Now at this point, we can go in and set our roughness a bit lower for this dirt and turn this into, just some slightly whitish brownish, sorry, I mean, slightly brownish, but lighter dirt, like this. To break things up a bit. Okay, so we have done that one. Now, next thing that I also want to have a look at because I can see here the wheels, and we can see the dirt inside of here is actually not that strong, but in here, the dirt is quite intense. And I think that was one of the things, also. So if we go ahead and have a look at, none of this dirt actually does much. Maybe it's just in the embio occlusion. Let's go into our SM dirt base. Let's see. Here we also have here we have another occlusion in the SM dirt. What I'm going to do is I'm going to add a paint layer to that. Once again, just grab like a soft brush. Eggs. Okay, that one is not the right one. That's to SMF soft or something. There we go, see. And we've got to make this a little bit less intense. And if you want, you can also go ahead and you can also press X to flip around the color and actually paint in some more darkening in some areas. Like, for example, our bolts would be good to have them a little bit darker so that they just are not how you say it, standing out too much. So the next one is that the paint normal seems to be a little bit much over here. So that's an easy one. We're just going to go into our painted normal soft pumps and set us to 0.002, maybe. I'm going to go a little bit higher because I quite like. And of course, the feedback that I requested, we requested in extreme lighting examples like this, but in other lighting examples, you don't get them too much. And the second one was that the actual plastic is not strong enough. So here we have a soft bumps. Let's at this one to 0.02 to make it a little bit stronger. Let's see. Is there anything else? The handles we did. So that was another bit of feedback. Some scratches on the top that looked quite nice. That is true. It would be nice if we can get some of those. So let's go ahead and go in our dirt and lid. Let's duplicate our dust over here. Make this white for now. And then in our mask, let's just go ahead and add a black mask to turn it back into black mask. I want to add a fill, and there is this really nice scratch mask. I think it's this. Here we go. And of course, we need to do some playing around with it. Let's do triplanar. Let's set the scratch tiling a bit lower and just a general tiling. Let's set this to like five. Let's set the scratch quantity down. Scratch dirtiness, that just breaks it up a bit. The dust intensity is this one. I want to try and find basically a good balance. Double scratch? Yeah, let's do double scratch. Mm. Yeah, something like this. And then I also, of course, want to make it a lot less intense, but that's something we can work on later. So Scratches? But it's not perfect yet. I'm going to go ahead and I'm going to make a folder for this that I will later on mask out. I'll call it scratch. So we have these scratches, and now what I'm going to do is I'm going to go ahead and let's add the paint layer, and let's just also paint in some more directional scratches. So if we have a look over here, here, you can see that it's will like on the side. Maybe we can use this grinch, actually. Oh, you should never do it on the corner. Yeah, if I do this, but then I minimize it, or maybe there's something that's a little bit more interesting looking. No, that one is. Yeah, that's a bit too strong. Et's play around with our contrast a bit more. Yeah, I think that should work if I make it a bit smaller. And I'm just going to make it very basic. Like, I'm not too worried about it. I'm not going to make it like super intense, perfect scratches or anything like that. It's more to just showcase the general vibe of things. I can make it much better, but we need to find a balance between how much time we spent on this and if it's actually worth spending that time. And for production asset, often, time is money, so to speak. So you often don't want to, like, go too crazy unless it's really intended to be a hero asset and it's like, super important and stuff like that. But this is just a random bin asset. I feel like we already spent way too much time on it. I could have done the welding probably inside of SubsisPainter, and it would have still been pretty much fine. Might not have been as big or as good quality. So I pushed it a little bit for the util, but it would have been fine quality. Yeah, so let's start with something like this. Then in our scratches, we can go ahead and a black mask, and then we can grab some type of interesting mask over here. Maybe set the flow a bit lower. Something different. This may be. No. Yeah, this one, maybe. I flow bit lower. And then in some of these locations. We can go in and we can start adding some of these scratches in here. Don't worry, we'll of course balance out the colors. Most just trying to get something. It's a bit interesting. Yeah, something like that. And now we can go into our scratches and we can set the color to be a little bit more down and a bit more brown like this. And that might already do the twig. Okay, maybe a little bit lighter. Actually. Like this. We've done that one. We've done breakups. The last one is to add some visual interest into the back panel, just to have some more dirt or scratches or something because it is against the wall. Now, for those things, if we go into our body, we have our leaks over here. I actually one that I want to find is the general damages that we have added in our galvanized metal. But I need to check where exactly that is. So body scratches. There we go. This is the one. And over here, I'm just going to go ahead and add a paint layer and I wanted to get something that has a bunch of scratches or something in there. So some directional scratches, I should say. Mm. Maybe something like this. Palin color, make it quite large. And it start by just like painting this in some areas. Don't worry. It's really strong right now, but, of course, we're gonna balance that out. So we have something like this, and now we just go ahead and tone this way down. So this is just like where the paint is starting to, like, fade because it has been hit against the back quite often. Now, we also have some leaks, and at this point, what I'm going to do is I'm just going to quickly because it's just so annoying when I can choose the stuff that I'm so used to using. But we can go in here and just, like, grab some leaks. You can download a lot of these leaks just online for free, or you can make them yourself by going intotexdt com and creating decals. We have many tutorials on FastTrack Tutorials, YouTube channel or also on our fill channels on how to do all of this stuff. But I'm just going to go at and add a paint layer. And actually, I'm going to do it here. I'm going to add some more localized leaks because you cannot really beat real life when it comes to these type of leaks. Here we go. And maybe also add something that has, like, some general grunge Yeah, like this, this will work quite well. There we go. Just to make the back a bit dirtier. Let's tone down the leaks a little bit. See? And that just already adds quite a bit. And then for raspbert just have some damages, and I'm probably gonna leave it at this. Now, another thing, let's see if is my text. I'm just checking because if you can see over here, the text, basically, it has quite a flatness in it. You can actually mimic that. I'm just going to see if it's important enough. But if we grab a text and just after Abu A levels, you can mimic that flatness by pushing in, you'll see the inside of the levels like this. Maybe set this one back. Here. And I think that's already enough if we just do that. And what I wanted to do is I wanted to double check because yeah, here at the text, it feels a little bit too intense. So I'm just going to go in the height. I set that a little bit lower so that it's a little bit less intense. And that was our feedback pretty much. So at this point, what I'm going to do is I'm going to go ahead and I wanted to do a quick double check in our feedback or sorry, in our images to see if there's nothing that I missed myself. Yeah, so having that stuff is fine. Over here, is not super dirty, but I can live with that. Yeah. I'm also going to keep the inside clean because it's easier to just keep something clean. The one thing that I would say is maybe we would want to have some general dirt over here on the inside. So if I just go in here and grab my dirt and then the lid, Okay, so that mask is correct. I can then go in and if we just overall grunge, I'm going to go ahead and I'm going to add another paint layer. And then once again, just with projection mapping, I'm going to just paint in some general dirt in these areas. No, not that one. Maybe something like this. Yes, but then I want to kind of, like, also break it up a bit more. So let's now go ahead and just, like, paint out again so that it mostly remains near the edge. Something like that. Okay. Awesome. So we have this one done. Let's go ahead and save. Now, if you want to create really high quality portfolio renders, what you can do is you can go ahead and set the actual size to eight K, just for this one time to get the best possible impression. But for now, let's just go ahead and export it at eight k for fun. See what it looks like. But of course, if we would actually export this to the engine, I would not go higher than four K. And then in the engine, we can lower down the actual texture resolution. So let me just pass the video until the exporting is done. Here we go. Now, the funny thing is that at the eight K resolution, it can sometimes even mess things up because you did not create it for that resolution. But here we go. This is what we have now. Let's see if there's some final balancing that we need to do. I'm going to make the scratches a little bit less strong. Let's go and lit scratches over here and let's set the opacity down a bit. The stickers are now looking fine. We have this additional damages over here, which also looking good, our wheels. Yeah, those have, I'm going to make probably the wheels normals a little bit less also. So it's loading because it needs to go back from eight k to two, four K, sorry. And so over here, the wheels, I'm going to go ahead and set that a little bit lower in the intensity. And I think that's about it. Yeah. I think for the rest in general, we have more than good enough. Oh, wait, over here. See? There's one last thing that I want to fix, and that's that we have some issues over here with these rings being not metal. So that's just a small issue. I can just quickly go into my base metal. And just select the rings. There we go. So that's the final fixes. And at this point, I would say that our textures are now done. So what we're going to do is just to finish this chapter off, I'm going to export this once more, and we are going to make some final nice renders inside of Momoset. And then the next chapter, we will go over on how to actually set this up properly inside of Unreal Engine. So let's go at Export, and I'll pass the video until this is done. Here we go. So that exported. And now at this point, as I said before, we can go ahead and we can just create some nice looking renders. Now, often what I tend to do is I tend to actually for my main renders, have my renders go from right to left, which means that this one would, for example, be like place somewhere here. It's just that we focus most of our efforts on one side, but that's totally fine. We can just go in and later on fix that. And then this side, can hit the base, as you can see over here. And I want to give it like these are, of course, yes, these can be portfolio renders if you want. Come on. But I will also show you how to render this kind of stuff out in sort of Unreal engine. Sorry, no, I will not render out in real engine. We will leave the mom set, but I will show you how to also set it up in Unreal engine because we don't have endo see yet in Unwel engine. So yeah, something like this. I feel like over here, the leaks they are too strong. So first of all, let's just go in and have a look. Over here, I had another light, but that light doesn't seem to do much. So we have a front light. Let's make a front light a little bit brighter. Then we have a back light and the backlight will basically just create these little side lights that you can see over here. You don't want to make it too intense. And what I also have, if I just click to main camera is I have this sphere, and this sphere should always cover the top and that will basically add some nice glow to the ground. So something like this. Okay, so I'm going to lower down the leaks, and that's pretty much the last thing that I will do. And after that, we can make a render. So I should have checked that before. But in any case, if we just go body, here we have our leaks. So if we just go ahead and set that quite a bit lower. So it needs to load in. Come on. There we go. It's about half lower. Yeah, that would work if it's half lower. One final export. Let me just export this. Awesome. I think we now finally have a really solid asset. Let's go ahead and go to render and let's go ahead and create our first render. Once that is done, we can, for example, turn one off and then we have over here, our render and what we can do is if you want, you can just duplicate the container so that you don't lose your position. But this is going to be the main container for our close ups. We can go in here. Maybe create a nice close up over here, render and then another one, maybe like a lower it's basically just to show off our model. So let's do one here. And then let's go ahead and maybe have one where light is nicely catching it and like a grand view like this. Yeah, it looks quite nice. I'm just rotating my sky around to see if there's something extra can do. Let's do another render. And finally, let's select this little tip, and let's go ahead and hide it and then just grab this and open this up. And I'm just thinking like, ideally you would want to have everything in one place or sorry everything in your view so that you don't like, cut off the model unless, of course, it's really obvious. So I'm going to go for probably like an angle like this and then maybe rotate this a bit up. Yeah, something like that should be a good final angle. And let's grab a final render. Awesome. So now we have these renders of, like, a really nice, high quality production asset. It's definitely like this one is, to be honest, higher quality than we would normally do during production because often production needs to be even faster. Like over here, I already spent probably two full time days just creating this a little bit less, but, of course, I'm also talking and everything like that. But in general, this is looking really nice. So what I will do now is, as always, I'm just going to go in. I go back into my sweat over here and go ahead and press feed back processed. And then I would throw in my new images. And basically, of course, in our case, this is the end. If there is more feedback, you would just go on and continue on placing more feedback. There we go. So in our next chapter, what we're going to do is we are going to set up this final asset inside of Unreal Engine, make sure that everything is all properly set up its collisions, with all of its materials, which will be optimized and all that kind of stuff. And then our asset is ready to go, and then we can move on to the next assets, which we will create two additional assets, but they will just be a timelaps as like a bonus, and they will be done by COBI so they will be done inside of Blender. In any case, I hope so far that you really enjoyed this course, and let's go ahead and finalize this model. 37. 36 Finalizing Our Asset In Unreal Engine: Okay, so welcome to the final real time chapter of this tutorial course. And what we're going to do is we are simply going to set up a asset inside of unreal so that it is ready to be used in game. Now for that, there's a few things that we need to do. So this is very often the case when you are working for a studio is that they rarely use all of the textures separately. They rarely use base color, normal, roughness, metallic, all of those textures separately, because that would be a lot of additional memory. Instead, what they do is they tend to combine textures. We do the same. So if I would now go ahead and just go into my final folder, I have these textures. I would make a folder called unreal, and I will show you how we do it. It all depends on your shado. So, honestly, it's literally like the technical artist or like the documentation will tell you which one you need. If we go to Export textures, the one that we normally use, if we just set the folder correctly, is we use our SM Unreal Object export. Now, if we go into that template, you can create these templates yourself. So here we have our output template, and then we have our SM object unreelEpot. And what you can see is that we only have three textures, but these three textures are able to hold your base color in the base color. And in the Alpha map of your base color, it holds if you have any type of opacity, it will hold your normal map, which is quite normal. And then we have something that we like to call an ORME map. So the ORME map in the red channel, it will have your AO map. In the green channel, it will have your roughness map. In the blue channel, it will have your metallic map, and in the Alpha channel, it will have your emissive map. So you can see that we are literally able to fit four textures into this one map. Now, of course, we don't have an emissive right now, but it's just about the general goal. So this is the one that we normally export. So if we just select that one, TGA, and we're going to go for four K. Then we can go ahead and we can press Export. So now we only have three nice textures, which will save us a lot of space, especially if these textures over here, they are already around 40 MBs per texture just because they are quite strong. Now, even with compression, you can imagine having one texture that is 60 MBs versus having four textures that are 40 MBs, it's quite a big difference. Now, if we go ahead and we go in reel and over here, I just have a testing scene, basically, and it's just so that we can properly preview stuff. If we go ahead and go into our assets and we need to figure out which one we had, we had TT over here. We have our large trash container. Now, just in case I'm just going to right click and press reimport because I'm pretty sure that this one needed to be updated. And then in our Textures folder, here what I want to do is I want to drag in our textures. Now, there's a few things that we need to keep in mind. One is your norm map. Once again, like I said, with the OpenGL versus direct X that comes in Mamoset, when you export something sorry, from Subsuspaer into UnreLEngine, it is already OpenGL, so you don't have to actually change your norm map. If you happen to export as direct sorry, it is already DirectX. If you happened Export as OpenGL, then what you need to do is just need to go down here into texture and press flip green channel. But this one is already totally fine. In our ORME map, what you can see now over here, if I turn them off is we have our ambient occlusion. Here we have our roughness, here we have our metallic, and we don't have a missive in this case. In here, I believe I need to turn off the SRGB for these maps just because of our shader. So now let's go ahead and set everything up properly. So here we have our container. Yeah, let me just rotate it a little bit. Second. There we go. So here we have a updated container. This looks like the final model, yes. And a nice thing about how that we created this asset, you can also see that even like this, it's already a correct looking model. Now later on, what we would do is we would also export multiple variations like we would have a variation with the top being open. We would have another variation where we might rig it and stuff like that. But for now, it's just about getting your final asset in here. The next thing that we need is our material. For that, in our specific project, we just need to go to materials and instances. And then what we tend to do is we tend to just duplicate an already existing instance material. So I can just go ahead and impress 1 second. I need to load up my what's it called Magira over here so that I know the name because you want to once again give it the exact same name. So I copy the name, duplicate it, and paste in our name of our trash container. Now, this is quite a large material. However, most of the stuff is quite basic for what we need. So in here, what we have in our material is we have a base color, normal RORME map, although, for some reason, it says ORM A, I need to fix that. And it also has some options to add some extra dust or to add some roughness breakup, but we don't need that for a unique texture. What I'm going to do is I'm going to go to assets go to my textures, and I'm going to start by just dragging in over here our norm map, ORME map, and our base Color map. Now, if you want, you can also turn on the wordspace dust, which I will show you in a little bit. But it kind depends when these assets are for outside. So normally we don't have dust. Now in this case, we are going to go ahead and open up our model over here. So here is our model and we are just going to do some pre checks. So the first check is that we have nanite turned on. That's correct. The second one is that we need to have our material assigned. So here we have a trash container, and let's assign the material. And now we can see that our material is here already ready to go looking pretty good. Now, next to that, we don't need any type of light map UVs because we are using real time lumen, so there isn't really much that we need to do here. The only thing that I want to check is I want to double check my collision over here. If I just have a look and go show and then go for a simple collision. This is our current collision. Honestly, I'm fine with that, but I can imagine that in your game, you might need to generate a slightly more accurate collision. For that, what you can do is, yes, you can create a manual collision, which we won't go over right now, but you can also just go to collision and remove the collision. Go to collision again, and here you can or art manual boxes, or you can press auto Convex collision. And then when you press apply, it will basically generate a collision based on the shape of your mesh. Now, right now it's set quite low, so you can see that it's not the best shape. But if I go ahead and just set this a little bit higher, like 15 and 24 and then press apply, maybe set the hull precision a little bit higher. Sorry. Set that one also high. You can see that now it's starting to generate a slightly more accurate collision, as you can see over here. Now, this is a bit of an awkward model, but often this is already fine for our collision. And now also to just quickly show you about the dust just for fun, is we have also this dust layer, and when you turn it on, give the second to load in. See, it adds a little layer of dust on it. But we don't need it because we have it it's an outdoor asset, sorry. That's what I mean. So we have now our collision. If I would right click and press play from here, hopefully my character works, you can see that now, I'm not able to walk through it and that's perfect, but I'm still able to jump on it, and my legs are set like a really good position. See? Now, in general, also for the scaling, I feel like the scaling is correct. Yeah it's something where you definitely need to lift up the bags to kind of throw them in there. Of course, the scaling with these, you can have a little bit more flexibility. But as you can see, that is all looking really good. Now, a few more things that I want to do is I just want to go ahead and I want to go. Normally I have a shortcut, but if you just go to IT Nant visualization and just double check that, that's fine. And then you also want to go to your show. And then you want to go to give me 1 second. I think it's advanced. No, not advanced visualize. And then you want to visualize your mesh distant fields. So your mesh distance fields basically showcases the accuracy of lumen. As you can see over here, we have some holes. Now, when it comes to the accuracy of lumen, you want to try and make it represent generally the shape of your asset. There is a little bit of margin of error, meaning that sometimes you just cannot get it good enough. But what you can do is if you have, for example, some weird holes over here, you can scroll down to your LOD zero and then to your build settings over here. And here you have your distant field resolution scale. If you set this a little bit higher to, for example, three and press Apply, it should update, giving you a higher quality model. Now, keep in mind that the higher you set this, the more expensive it will be to render your asset. It's very minimal when it comes to one asset, but when you have thousands of assets, you want to try and keep it as low as possible. For example, now I set it to two and two is fine. Like two represents the mesh good enough. Then go ahead and go back into my normal mode. And here we go. We have some really nice materials, and it's just a nice high quality model. So your model is now ready to be used in game. At this point, if you want, you would like, sell it to the level artist, and they would go in here. Let me just save all of this stuff. And the level artists they would basically just go ahead and go into their scene, and they would start dressing up the scene with this asset. So let's just see, we, of course, don't have final lighting in our scene. So it's something to keep in mind that it will not look super good. But I hope that you can see that the accuracy is quite close in terms of how that the actual textures look compared to how they looked inside a painter and everything. But you can definitely see over here, if I just like place a few of them, maybe rotate them and everything, that this is starting to look really cool and it really fits nicely with your environment. And even when we have a few of them, they don't feel out of place that they are the exact same ones. Maybe with the stickers, the stickers are maybe a little bit too strong, but that's something that we can just balance out later on. In any case, that was it for this tutorial. So at this point, we have our final Jira over here. And what we can do is we can just go ahead and throw in a quick image of the final mesh. We can go ahead and set this to dub. And then over here in our time tracking, we spent around, I believe it was like, so here's one day or 4 hours. I think that's about right. We spent seven. No, we spent like we spent a bit longer because I was talking. So I think I spent around 12 or 13 hours. I'm just going to say 13 hours. So here you can see that I did spend a little bit more time than should needed than should be needed. But to be honest, I'm talking. So, of course, even with talking, this is actually quite fast. The time tracking is here, which is very useful when you want to track your entire project. We have our final mesh and it is set to done, and we are now ready to go. I really hope that you like this tutorial course and that it was useful and give you some insight on how to not only create an asset, but also on how to create assets for production, we will have a quick two bonus chapters where we will show you how to create two other assets. One will be also using the height lowboiltechnique, and the other one will just be using weight normals techniques. COBIS is the one that will be creating those, which means that they will be created in blender. For now, this is looking really cool. Awesome. I hope that you enjoyed it, and I hope to see you next time.