Creating a Japanese Shrine Environment in Unreal Engine 5 | Aniket Rawat | Skillshare

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Creating a Japanese Shrine Environment in Unreal Engine 5

teacher avatar Aniket Rawat, 3D Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

24 Lessons (8h 21m)
    • 1. Introduction to Class

      2:43
    • 2. Going Over Our References

      4:54
    • 3. Creating the Roof

      21:08
    • 4. Finishing the Roof

      18:32
    • 5. Creating the Details

      37:35
    • 6. Adding more Details

      14:38
    • 7. Creating the Walls

      19:48
    • 8. Finishing the Walls

      17:09
    • 9. Creating the Shrine Gate

      19:51
    • 10. Finishing the Shrine Gate

      23:31
    • 11. Creating the Shrine Box

      28:41
    • 12. Creating the Door

      24:03
    • 13. Creating Some More Details

      41:33
    • 14. Creating A Platform

      54:22
    • 15. Creating the Ground

      9:48
    • 16. UV Unwrapping

      16:09
    • 17. Exporting and Baking Mesh Maps

      14:58
    • 18. Texturing in Substance Painter

      40:40
    • 19. Creating the Unreal Engine Project

      14:37
    • 20. Adding Megascans Trees

      5:45
    • 21. Placing the Trees

      25:56
    • 22. Setting Up Lighting and Post-Processing

      16:39
    • 23. Making Some Adjustments and Different Lighting

      19:17
    • 24. Final Thoughts

      9:12
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About This Class

Hello Everyone and welcome to this new class. In this class, we will go over the entire process of creating this Japanese Shrine environment using Unreal Engine 5, Blender, Substance Painter.

We will go over modelling in Blender, texturing using Substance Painter and setting up the scene, lighting and materials in Unreal Engine 5.

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SOFTWARES USED - (BLENDER, Substance Painter, Unreal Engine 5):

All the modelling will be done in Blender, However, the techniques used are universal and can be replicated in any other 3D modelling package. The materials and textures will be created using Substance Painter. Level art, lighting and composition will be done in Unreal Engine 5.

In this course, you will learn everything you need to know to create the final results that you see in the images and trailers. The same techniques can be applied to almost any type of environment.

This course has over 8 hours of content! (All the videos have audio commentary)

We will go over each and every step in this course together and nothing will be skipped. The course does not have any kind of timelapses so that you can follow every step easily.

We will start by gathering some reference images to gain some initial ideas and the mood for our scene. We will arrange these reference images in a free program called PureRef. After this we will move on to Blender and start modeling our shrine. We will go over the entire process of modelling this from start to finish in Blender only. We will be using reference images to closely create all the details and the ornamental style designs.

After we have modeled all our assets, we will export them to Substance Painter to start with the texturing. We will learn to create high quality and realistic materials and the key features of Substance Painter like Smart Masks, generators, smart materials etc.

After this we will import all our models into Unreal Engine and export the textures from Painter to Unreal Engine. To enhance our scene even further we will make use of the newly introduced Megascans trees that are provided to us for completely free as Unreal Engine users by Quixel. We will learn to use landscape tools, the foliage editing tools to place all these trees in our scene. We will also learn to customize the different settings of these trees like wind, seasons, leaf color, health etc.

The next step would be to setup our lighting and create a mood and atmosphere for our scene. We will make use of the new features of Unreal Engine such as Lumen to get realistic lighting for our scene, next we will set up a post-Processing volume to further enhance the visuals of our scene.

We will end this course by setting up different camera angles, taking high resolution screenshots for our portfolio and setting up a day-time lighting setup for our scene. We are going to learn a lot of things. So, I hope to see you there in the course, thank you.

Who is this course for?

Students that have basic knowledge of modelling, texturing and want to learn how to create environments. Everything in this course would be explained in detailed but some prior knowledge of the software would be helpful.

Meet Your Teacher

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Aniket Rawat

3D Artist

Teacher

Hi everyone, My name is Aniket Rawat and I am a 3D artist who likes to create realistic and high quality 3D props and assets. The main 3D programs that I work in are Blender, Substance Painter, Zbrush and Unreal Engine. I am proficient in 3D modelling and texturing.

Thank you for stopping by my profile, I hope my courses are able to help you learn new stuff.

See full profile

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Transcripts

1. Introduction to Class: Hello everyone and welcome to this new course. In this course, we will go over the entire process of creating this Japanese shrine environment using Unreal Engine five, blender and Substance Painter. We will go over monitoring and vendor, actually using Substance Painter and setting up the scene lighting and materials in Unreal Engine five. This course includes over eight hours of content, and we will go over each and every step in this course together and nothing will be skipped. The course does not have any kind of time lapses so that you can follow every step easily. You will also be provided with all the source files required to complete the course. This includes all the defense images, the textures, blend files, and also the Unreal Engine projects. The course is perfect for students that have a basic knowledge of modelling extreme and want to learn how to create environments. Everything on this course will be explained in detail, but some prior knowledge of the software would be really helpful. You will learn everything you need to know to create the final results that you see in the images and trailers. The same techniques can be applied to many other environments. We will start by gathering some reference images to gain some initial ideas and the mood for our scene. We will arrange these reference images in a free program called pure ref. After this, we will move onto blender and start modeling our string. We will go over the entire process of modeling this from start to finish in Blender only, we will be using reference images too closely. Create all the details and the ornamental style designs. After we are modeled all our assets, we will export them to Substance Painter. To start with the texturing process, we will learn to create high-quality and realistic materials and the key features of Substance Painter, like smart mosques, generators, smart materials, etc. After this, we will import all our models into Unreal Engine and explored the textures from printer to Unreal Engine. To enhance our scene even further, we will make use of the newly introduced mega scan trees that are provided to us for completely free as Unreal Engine users by quicksort, we will learn to use landscape tools, the foliage in tools to place all these trees in our scene. We will also learn to customize their different settings of these trees like boom, seasons, leaf color, health, etc. The next step would be to set up a lighting and create a mood and atmosphere for our city. We will make use of the new features of Unreal Engine such as Newman to get realistic lighting for our scene. Next, we will set up a post-processing volume to further enhance the visuals. We will end this course by setting up different camera angles, taking high-resolution screenshots for our portfolio, and setting up a daytime lighting setup for our scene. We're going to learn a lot of things, so I hope to see you there in the course. Thank you. 2. Going Over Our References: Hello everyone and welcome to this new course in which we will be creating a Japanese shrine environment from start to finish. In this very first lecture, what we will do is we will go over our reference images. I learned how to organize them properly with the help of a free software called your Riff. I'm pretty sure most of you guys already know about it. So for those who don't know, Let's quickly install it. I type in pure ref in the search bar. Click on the first link, head over to download and select your operating system. So I am currently on a Windows ten PC. I'll select this one. And although it is a free software, you can pay for it if you want to support the development. But right now, I'll go over to customer amount and set it to 0. You can just pick download. As I've already downloaded and installed this software before, I won't do it again. So you can just click on this file and install pure RREF if you haven't already done it. I'll just open it up from here. Alright, so let's bring in our reference images now. So to do that, just go over to your course files, heading to the reference images folder. And just select all of these reference images and noun drag and drop them onto the board referendums. Now we'll just wait a bit for them to load. Now, all of them are here. Alright, so these are all the reference images that we have right now. I have grabbed them from different sources like Google interest and some from different artists on our session. Also, a lot of these reference images are from this reference back of traditional Japan. I have asked the creator of this back and he allowed me to share these images with you guys. So it is really great pack with all these detailed images that we can use to create our own project. So all the defense images, textures, project files, everything would be available to you in the course files only included with the video files. These are all the reference images that we have right now. We keep adding more to these as we keep on moving further with the course. And you can also add some images of your own if you want. Actually, we won't be using pure ref that much throughout the course. We will be using it during some parts, but for most of the part, we will be using single reference images like maybe this one or something like this may be directly in Blender only. But still let's go over some of the basics of pure ref. The very first thing is you can hold your right-click and move the pure ref window like this by holding your right-click and place it anywhere on the screen. Next is you can resize the size of the pure ref window just by dragging its edges. And you can also select the images and scale them, rotate them, engine, organize them like in whichever way you like. Next thing is if you just hit right-click, you can access all of the commands and the settings. First, let's save our scene. So go over to save, save. Let's save this as reference images. I will save it in my tutorial folder only. And let's hit Save. Next is if you just hit right-click, go to Mode and enabled always on top from here. This will do is this will keep our pure reference to always on top of the other windows. If you just open a blender, you can see pure ref stays on top of this. It does not minimize. So now you can just maybe select this image like this. For example, if I'm trying to make this, I can just place my pure ref window over here while working in Blender only. So it makes it a lot easier to work and create things while I can view the images simultaneously. The next thing is if you want to minimize your period referendum while you are in this always on top mode, you can just use your task bar from here and minimize and maximize it like this. You can just hit right-click, go to Window and hit minimize. The next thing is if you want to focus on a single limit, you can just double-click over it and you can see your referenda will automatic zoom over it. You can select maybe any image and just double-click and it will zoom. If you just hit right-click, there are a lot of other functions that you can go through, but as I said, we won't be using pure enough that much. I think this much is enough for this video. In the next video, we will start with the modeling part of our course, and maybe we will start by creating the roof. I think. If I can show you an image, whereas it, yeah, I think we'll start by creating this roof structure like this. I'll see in the next video. Thank you for watching. 3. Creating the Roof: Hello and welcome to the second lecture of this course. In this video, we will start with the modelling section and we'll start by creating our roof of the shrine. The way we're going to do that is we will use the reference image. So if you go into the reference image folder, you will find this particular reference image. Let's bring this into Blender and we will be using this image to create our roof section. To bring this reference image into Blender, what we need to do is first let's press a and delete all of these existing objects. So press a to select everything, then press Delete. Also, if you can see over here I've turned on my screencast keys. This way you can see all of the shortcuts that I'm performing through my keyboard and mouse so that it is easy to follow me around the course. Alright? I will press one to go into the front orthographic view. So orthographic views like a 2D view of all different sides. If you press one, it will take you to the front view. Three will take you to the right view, seventies for top. And nine is four bottom. Also one more shortcut that I want you guys to remember is if you press one, it will take you to the front view as you can see over here. But if you press Control plus one, then it will take you to the back orthographic view. If you press three, it will take you to the right and control plus three will take you to the left. In a similar way, seven is stopped and control plus seven is bottom. So I want to bring this reference image into my front orthographic view, suppresses one for the front orthographic view. Press Shift plus a new object. Go over to image and let's add a new reference image. I will just quickly head over to my tutorial folder. Let's bring in the image now. Just double-click here to bring it into Blender. The reference images here now and let's start by creating a roof section. First I will press Shift a and let us start the plane. So go over to mesh another plane. The plane is added like this, so I will just rotate it on the x-axis. First, press R to rotate it. Ten plus x could lock it on the x-axis. Then you can just type 90 in your number back to rotate it by 90 degrees. Now let's press one again for the front view and press Tab to go into the edit mode. Currently we are in the vertex select mode. As you can see. If you press one, it is for vertex select. If you press too, then you can see it is for Edge Select. And three, you can select the complete phases. Alright, so I press one and let's come back to the vertex select mode. Now currently we have four vertices to work with. And I just want to merge them, all of them into a single one so that it is easier for me to work. So to do that, just select all of them. Make sure you're selected all of them. Press M to merge. This is the shortcut for merging. And then merge them all at the center. Now, everything is disappeared, but if you just press G to move, you will see you are moving. The single word, suggests select the single vertices as G to move it. And let's place it over here, right over here. All right, so to create this roof section first, what we will do is we will create this small part that you can see over here that goes starting from here, like this and this. Then we will create all these separate parts one-by-one, then this one, then this one, then the inner parts are, so let's first start with the outermost one. To do that, we just need to trace this complete outline. So press E, extrude this single word. See, make sure this is selected and then press E. You will see it is extruded like this. And now we just need to match with the reference image and keep on pressing E again and again to just trace this complete reference image out. That's why having a reference images so necessary, because it helps you a lot. So I am just pressing E again and again, as you can see in the screencast key is also over here. I'm just pressing E multiple times and extruding this and then placing it over this reference image line. Also one more thing that I wanted to mention is if you press E, you can see this word c is moving like this. If you hold Shift right now, you will see this vertices moving a lot more slower. So it is easier to place and make a little more besides movements. And if you just release shift, you see it, It's moving a lot more faster. So just hold shift for precise movements. And let's place it over here. Now what I will do is as there is no line over here, just press E and extrude it roughly like this, just straight from this point to over here on this line, like this. You don't have to be very precise about it. I think something like this is fine. Yeah. Now just press E again and let's keep on extruding here. Now I will just quickly completed this. You can also pause the video and try to complete this on your own. I'm just pressing E again and again. And extruding this or I mean, extraordinary single vertices, the complete reference image. I should just warn you that we will be doing this quite a lot in this course. And it kind of makes a lot of things very easy. Place it somewhere over here. Let's continue to the right side. Let's leave this vertices over here only. And I will continue again from this word c. One thing that you can do is by pressing E. If you press like x, you see I've logged this vertices moving only on the x-axis. So if you're extruding something in a straight line, the shortcut is pretty helpful. So just press E, then press X to lock it on the straight line and let's place it over here like this. All right, Now I will do the same thing. Let's just extrude this inner straight line somewhere around here. Now I will just join these two words, disease. To join them. Select this word, see like this, then hold shift and select this word c, then press F to join them. All right, now I'd complete first part of the loop is done. What I will do is I will select this reference image, press G to move this. Then press Y to lock it on the y-axis. And let's move it a little bit far back because it does not really matter when we go into the front orthographic view, it will look the same. So we can move it a little bit five back. Alright, so the first part of a roof is done. Let's just select this one again. And let me just adjust these vertices a little bit more properly. Alright, so press Tab again, press a to select everything, and then press F to fill in the face. What we can also do is just press tab, this tab, go into the Edit mode, press a to select everything. Then we can extrude this backwards like this to create the roof like structure. But I'm thinking I will do this for all the pieces together when we're done with all the roofs pieces. So we'll just quickly press Tab again and just press X and delete all the vertices that we are just left with this single phase again. All right, so I'll press is one. Now, Let's create these inner pieces also to create a roof. What I will do is I will select this piece. Let's name this roof one. I will just hide this for now. So press H. You can just use this shortcut from here, just enabling or disabling this, disabling this icon. To bring back anything that is hidden, you can either use this icon or to bring back all of the things that are hidden at once, you can use the shortcut alt plus H, like this. Like for example, if both of these items were hidden, I can just press Alt H and all of them are back now. All right, so I will just hide this for now. Again. It's the same process, press Shift plus a, let us say the plane. Here it is rotated on the x-axis by 90. Press tab and I will again merge this, merge all of these vertices into a single vertex. So press a to select everything. Press M to merge, and let's merge at the center. Press G to move this vertex and let's place it. Whereas it, Let's place it over here. And this time we need to create this inner peace. Press E. And again, we need to just extrude this completely and this whole reference image. One is pretty easy because we just need to follow the lines. Again for this part, I can press E and then plus x to lock it on the x-axis and place it over here. Then just continue extruding. Alright, so again, we are done. We just need to join these two. Now I want both of these vertices to be at the same level. So to do that, let's just select this one. Go over here and this is the snapping. So change this from incremented to vertex. All right, so now while I move this, I will press the Z axis to lock it on the z-axis, then hold Control. And I will move my mouse over here and then you see it snaps to this particular vertices like this. Make sure you are holding control. And now both of them are in a straight line. Select them both and press F. And all right. I think we are done with this piece now. Press Tab again, press a to select everything, and then press F to fill in the face. And now we're done with two of them. Just quickly press one, we can just move this a little bit inverted like this so that there is no, there is not too much space between these two pieces. I think this is fine. It really won't be noticeable when we just press tab, select all of them and extrude them backwards like this. Right now, I'm not going to extrude them. I will extrude all of these pieces together only. Okay, so by now, we have done quite a lot. So let us save our files first. So press Control plus S. I will save it in my folder only. Let's name this as shine and hit Save. Let's rename this piece also selected double-click over here. Named these two roof BCE to press one again for the front view. And let's compute this piece. Again. I will hide both of these as H to hide them. Press Shift a and add a plane. Rotate it on the X by 90. Let's match all of them in both single word. Press a to select everything and then merge them at the center. Please just see over here. Now we can just quickly extrude this. Again. This is like a protective parcel. I'm not really speaking anything because there isn't much to say. We will be doing this quite a lot. So we just needed to extrude this magic with the reference image. So it is pretty easy under predicted. Let's complete this quickly. Now, select both of them and join them. Press a to select everything that press F to fill in the face. Now let's press alt plus H to bring back all of the pieces. Alright, so now we'll just extrude them to select all of them. First, let's rename this to roof P3. Dollar of them press Tab, press a to select everything. Deletes, extrude them like this. Press N to bring up this side view. I bought and then go over to the items section. And we can also check the dimensions from here. I will extrude them or give them a length of about three meters, maybe. A little bit more. Yeah, I think this is fine. Length of around 3.63.063 meters. I think this is fine. Let's select all of them, right-click and shade smooth them. Now you can see the shading is all messed up. If we select this piece, any of the pieces go over to this object data properties into the normal section and enable auto smooth. You can see the shading is fixed. But we don't have to do this for each and every object. What we can do is let me just undo everything, select all of these objects. And if you just enable auto smooth, you can see only one of them is being affected by. But if you hold Alt and then enable auto smooth, you see all three of them are being effected. So hold Alt and enabled auto smooth to correct the shading issues. One more thing that I will do is go over here and enable shadow and cavity. This setting rail does nothing but it actually makes our edges look a bit more visible. Nothing too special. But if I just enabled and disabled this, you can see the edges a bit more visible and easier to see. I'll enable this. Next, what I will do is select all of them, press Control a, and apply the scale. And also let's add a bevel modifier to each one of these. Go over to the modify properties. Let's add a bevel modifier to this enabled hardened normals. This one also. Let us reduce the bevel modifier for this one a little bit. Something around here. And let's start to this also enabled harder normals. And let's reduce the bubble just by a little bit. I think something around here. Yeah, I think the starting of a roof. Roof looks pretty fine. Next thing that I will do is select both of them, press S to scale them. And then I will press S, then y, and scale them a little bit inverts on the y-axis. You see it is not scaling properly. You see you this scaling very weirdly. The reason of this is the origins of these objects are not in the correct position. Just select all of them. Go over to object and set origin and set the origin to geometric. Now you'll see all of the geometric, sorry, all the origins are in the correct place. So again, I will select both of them. Now I will press S to scale them, and then press Y to scale them on the y-axis. And I will scale them a little bit. Inverts like this. This one also, just a little bit. Yeah, I think something like this is fine. I think this much is enough for this first video. Let's press Control plus S and save a video, or I mean save our files. Also, I will move this reference image into a separate collection, select this image, press M, and select the new collection. And let's name this collection of images that we can place all the reference images into a single collection only and we can just easily enable and disable them. Yeah, I think we will continue from here in the next video. Thank you for watching. I'll see you in the next one. 4. Finishing the Roof: Hello, welcome to Chapter three. So let's continue from where we left off. I'll press, let me just turn on Screencast keys first. I'll press one for the front view. And in this video let's make the top part first of our roof. If you see in this reference image, not all of the top part is very clear. We cannot make out what this stuff is. So we won't be creating the complete top part. We will be just taking some parts from it from this reference image. Let's start. I'll press Shift a and add a plane. I will just press Tab, press a to select everything. And now let's just press M and merge them at the center. Let's create this piece first. I will place the vertex over here somewhere. And again, we just need to extrude this result, the reference image like this portion, I'm trying to create this one if you can make it out. Allergists follow this line. Here. We don't need to go like this, like this. I'll just press E and then move it on the y-axis. On the x like this. Just keep moving further. Alright, let us join these two vertices. So select them both. Press F. Yeah, I think this looks fine. Press Tab, press a, press F to fill in the face. Just move it like this to see if it fits perfectly. I think it looks fine. Just press Control Z to go back to its original place so that it is matched to the reference as we will create some more stuff also. Next, let's create this piece. So I will add another plane. Let's merge this. Instead of adding plane again and again and then merging it into a single vertex, there's one more thing that we can do that is go to Edit, go to Preferences. And in the add-on section, search for extra objects. You can maybe enabled both of them measure also and curve. But we actually need just mesh. But yeah, you can enable both of them. Now if you press Shift a, you will see you get a lot more of options over here. If you go, instead of selecting plane, you go over here single word and just add a single word. You will see first we need to press Tab. I think we have got ourselves a single vertices. We don't have to go through that process again and again, adding a plane and merging it into a single vertex. Let's just place this over here now. Again, we need to keep on extruding from here. Just move it like this. Start from here, only. Press E Again. Keep on extruding. Just try to match it with this part of your bees or object. Let's select both of them and press F to join them. I will select this piece, press Tab to select everything, and press F to fill in the face. It is a little bit unsymmetrical over here. Let's try to solve this. I will just select this vertices, press X and dissolve this, that it gets removed. Now I think they look fine. Alright, let's save our Blender files. Alright guys, so let us move further. I'll press one again. Let's create this top piece. Again, I will go to Mesh and add a single word. Press tab and make sure you are in the word select mode. So press one and then press a to select everything. And then you can put G to move this. Let's place it over here. And this is a pretty basic shapes suggest plus e to extrude. And let us just quickly Press it out. It is pretty much straight lines only. Alright guys, so now select both of these vertices. Press F to select them both are, I mean, join them both. Then also select these two vertices, then press F to join them both to create two separate phases. Now you can select all four of them. I mean all of the vertices and then press F to fill in the face. Alright, next, Let's just move this over here. Now to create these cutouts, as you can see, what do we need to do is press Control R. And you see we are unable to add an edge loop. Control auditors shortcut for edge loop. So what I will do is first let us remove this vertices. So press X and dissolve vertices. Then press Control R and add a vertex over here. Press G to move this and let's place it somewhere over here. And now we just need to join both of these vertices. So select them both and make sure you press J this time. And now if you press Control R, you can see we are easily able to add an edge loop like this to a loops to go through this complete loop. And you can see we can now address. We get now press Control R again and add six edge loops may be like this. Let us just place them according to these lines. So hold Alt, select this complete loop, place it over here. One over here. Make sure I'm pressing G twice. I'm pressing G12 times like this to move them along the same edge only. Hold Alt, select this complete loop, press G2 times and move it like this. I think we need to add one more loop. So press Control R and add one here. Let's do the same thing over on this side also, press Control R. Let us start a single vertex, but as G twice and move it over here. The difference between pressing G one says that if you press G1 so you can move it anywhere, around, anywhere you want. You can move this vertex anybody you want. But if you press do two times, you see it is locked on the single edge and I can move it on this single edge. Only. Place it over here. And let's just join both of them and press G. Make sure you are pressing G N naught f, Because if we press F, it will, it can cause some weird issues. So make sure you're joining them both. All right, Let's add edge loops like this. Six like this, 123456. Just hold Alt and select all of these edge loops and move them according to the reference image. Now press three for Face, Select, and select all of these phases. Like this and press X and delete the phases. Now we have gotten the shape. Next, let us just extrude all of them to give them proper shape. So I will select all three of these. Move them down over here along with my roof like this. Let's move them a little bit backwards. Also, let's place their origins correctly. Go over to Object Set Origin, region to genetic tree. I will deselect this piece, select just these two, these bottom two estab, press a to select everything and E to extrude them like this. Let's extrude them till the back over here. I think this is fine. Select them both and right-click and Shade Smooth. Make sure to enable auto smooth, hold Alt. Select auto smooth. Alright. Next I will add a bevel modifier to both of them. Also apply the scale. So to apply the scale, make sure you set both of them, all three of them actually then press Control a and apply the scale. Also enabled the hardened normals. This piece, we actually don't have to extrude this all the way to the back is press Tab to select everything. Then extrude this a little bit. I think this much. Then also add the Boolean modifier to this. Enabled hardened normals to smoothen out the edges and also enabled auto smooth. You can see some kind of weird issues or going over in here, just decrease the bevel amount where everything is fine. I think the next, select this piece again and let's move the origin to geometric again because we have extruded this. And now I will matter this piece over here so that it mirrors perfectly. Select this piece either mirror modifier, head. It is. Right now, it is not working perfectly, but we want this object to meter according to this object. So what I will do is select this object, this one. Go over here in the middle object command. Take this eyedropper tool and select this object. And make sure you've selected the y-axis and disable the x. And now it matters perfectly. Let's move this a little bit back over here. Alright, so our roof is looking pretty good. Let's create some more pieces if you want. You can do this also, but I will, I will not be adding this because it is really a preference thing. If you like the shape you can add it, it is pretty easy to make. You have to just extrude some vertices and then give it a thickness. Another piece that I will create this, maybe this one, and this is a pretty easy shape, so we can quickly create this single vertex. Where does it? Make sure you are in the vertex select? Currently we are in the face mode, suppress one to go into the vertex Select, and now you can move it. Please sit here. And let's just quickly extrude this. I'll just select both of these and press F to join them. Also, if you want to smoothen out a gardener or a vertex, you need to press Control Shift and B. And you can smoothen out like this and use your scroll wheel to add more vertices to smoothen out this week. Let's try this one also, let's press Control Shift and B. And you can see, I'm smoothing this out. So it is a pretty handy shortcut. Alright, next what I will do is select this piece, press Tab, press a to select everything. Then press Shift plus D to duplicate this. Press X to lock it on the x-axis, and let's place it over here. Now to flip it, you need to just press S to scale it, and then press X to scale it on the x-axis. Then type minus one on the number by the flip it like this. Now I'll just place it over here. Alright, we are good to go. It does press Tab, press a to select everything, and then press F. Let's move them a little bit back and also change their origin to geometric. Now again, I press Tab and then this, and then just extrude this backwards. Like this. Click and shapes move this enable auto smooth. And also let's add a Boolean modifier. If you're not liking these edges showing up, you can just press tab, select them, select all three of them, then press Control plus b. Two, bevel them. Make sure you're just pressing Control plus b and not control shift and V, because Control Shift and B is for single vertices like this. But if you're doing it for edges, press two for edge mode, select all three of them, then debt, then just press Control plus b two, bevel them like this. I think this one is fine. Similarly for this side also, let's do it. Alright, so I think our roof is looking pretty good so far. If you want to add some more shift like this one we left out or maybe some other one of these, if you can make these out, feel free to add them because it is really a preference thing, but I think I will keep it till here only. We might add a few things later on in the course. But for now I think this much is fine. I think this much is enough for this video we will continue from here in the next lecture. We will be creating these stuffs over here. We'll continue in the next one. Thank you for watching. 5. Creating the Details: Hello guys. Welcome to Chapter four. So let's continue from where we left. Press one for the front view. And let's create this piece now. Again, I'll press Shift a and either single word, best one for the vertex select mode and select this vertex and let's place it over here. Now I will just quickly extrude the boundary of this object from a reference image. By now, I think this is pretty easy for you because we have been doing this a lot. Just quickly extrude and trace out the complete object from the reference image. What we can do is we can hide all three of these so that it is easier for us to work. Select the word again and press Tab, and let us quickly extrude it. Now let's join these two vertices to select them both and press F. Now press tab, select everything to suppress a inverse f to fill in the face. Let's press Alt H to bring everything back. And now I will just press E to extrude this backwards like this. Go to object and set origin to geometry. Let's right-click and shade smooth and also add a bevel modifier to this. Enable auto smooth from here, and also enabled hardened normals. Reduce the Babele amount. I think this is fine. Next, I will mirror this object. Let's add a mirror modifier. Again, we need to select the mirror object as distinct meters according to this, now press Y, Z, I think. Yeah, remove y and x. And now emitter is perfectly alright. Next, if you press one and see these things over here, they are not really visible in this reference image. So we will create later, we will create them later on using a different reference image. For now let's hide this image. We will be creating this piece, but not using this reference image. Because again, if you zoom in, you can see it is not very clear in this image. I will just hide it for now. And press Shift a again. Go to image reference. Let's search for the proper reference image. Yes, this one. This is the 2481. Just select and open it up. Press seven. I think it is not aligned properly. Press N, go to Item and select or hold your leftmost click and select all of them like this. Then type in 0, that the rotation is reset. Now I will press on then x type 90, rotate it by 90 degrees. What we can do is let's move it over here. Now press Slash to go into the isolation mode. By isolation mode, you, what you can do is any object that you have selected. For example, if I select this object and then present the interest slash on my number by, I will move to a separate isolation mode where you can work easily with a single object only that there are no disturbances from other objects. If you press Slash again, you will go back to your normal mode. Select this image, press Slash to go into isolation. Press one for front view. And this time I will add a plane. So press Shift a, go to Mesh and the plane. Let's rotate this plane by 90 degrees on the x-axis. This time I will not be merging it or do I will do is place this word. See just over here at the center. Now press Tab Risk Control R and add an edge loop right down the middle. You don't have to move this edge loop. Just hit right-click to set it at exactly the center. Alright, now select both of these vertices, press X and delete them. Now I will add a mirror modifier. Why I did this was because now I need to just create this left side of this piece. You can see if I move this vertex, this one is also moving on its own. So we have to just squeeze this left side, the right side, the right side, the mirror modifier will take care of. Let's select this word, CAN place this over here. If the mirror modifier does not line up properly with the right side of the image. That is because the image is not perfectly in orthographic mode, the image is a little bit skewed, so you don't have to worry about that. Just cleared the left side properly and don't worry about the right side. Now what I will do is now I will just select this, press X and dilute this. And you're now I will select this word c, control, and let's line it up with this one over here. Now we just need to again extrude these vertices and match with the reference image. So press E. Let us just quickly trace this complete object out. As you can see, the mirror modifier is working actually correctly, but it is not lining up with the image perfectly because the images are symmetrical. So you don't really have to worry about that. Just keep on extruding. Everything will be just we need to make the, we just need to make the left side properly. Alright, now what I will do is first make sure you enable clipping. Let me show you what actually clipping does if you move your vertices now like this, you can see the boat cross each other. We actually don't want this just enabled clipping. And now they both will join like this and not move further past the centerline. So let's press E one last time and join them like this. Now you see the left side is done and the right side is automatically taken care of by the mirror modifier. Now I'll press Tab, press a to select everything and then press F to fill in the face. Now our shape is done. Next. Let's create these cutouts, as you can see in the reference. To create them, what I will do is press K for the knife tool. The next tool which will help us with this task, select this word to see how it over here. And now I just need to, sorry, risky however, this word click over here. And now I just need to again trace this out by just using my left mouse button. We don't really need to press anything. One more thing, if you want to. Move your viewer around, just hit right-click. You can move your viewer on the points that you have marked using the knife tool will stay over there only you can reposition your view. Then click over here again, and then you can continue. You see you can just hit right-click and then reposition your view. And then again click over here at the last point you just created. Then you can continue from there only. I think this feature was added in Blender three only. So make sure you are using the blended three version. Let's continue click over here. Now we'll just keep adding the point. Now let us join it, but this word is C over here, so just click over here. Now hit right-click. Now everything is done. Just press Enter and you see the vertices have been added. Let's move this a little bit over here. And now if you just come out of this x-ray mode, press Tab again, press three for free select. You can see these are now two separate phases. The advantage of this is actually when you press Tab, press a to select everything. Now you can just extrude this leg this way. First, let's right-click and shade smooth enabled or two smooth. Press tab. Let's select this face. And instead of just extruding it backwards like this, you can see we can do that, but it will create these. If you can see. First I will just reset the origin. So select this set origin, origin to geometry. Okay, Sorry, actually forgot we are still using the mirror modifier so we cannot really reset the origin right now. We can reset it after we have applied the mirror modifier. Let us do it later on. Whatever is actually telling us. If you use the extrude modifier just like this, you will see all these phases. Let me show you like these phases. We don't really want them. Let's press Control Z. For this to work properly, we will use a separate tool. If you press D, this bar will come, come out toolbar or press T and hover over this extrude function. If you just hold your right-click, left-click over here, you will find this extrude manifold command. So just select this extrude manifold. And now, if you just use this yellow icon and push it like this, I think this is fine. You can see we do not see any of those annoying phases and this extrude is perfect. Let's add a bevel modifier to this. The bevel modifier is not working right now. What do you need to do is just go over here and enable Clamp overlap. Everything is really messed up, so just decrease the bevel amount to where everything is fine. I think Teilhard is fine. Just right-click and choose mode. Enabled hard and normals. Alright, next one again. Enable X-ray. And let's create these cutouts now. Press Tab express K, again to select this word, see, and start to trace out from the reference image like this. Hit right-click and press Enter. Now select this phase and let us use the extrude manifold to push it like this. I think it is looking fine. Press one again, enabled x-ray. Estab again, press one, select this word. See. Again press K. Let's create this, this cutout now. Scale again, and let's create this also in one goal only. Let's join it over here and press Enter. Now select both of these phases and extrude them backwards like this. Sorry, we don't have to extrude them. We have to use this yellow icon that we use the extrude manifold command. Just push them like this. Now select this last phase and extrude this backwards like this. Now we have created a shape. Let's save a blended files now. Alright guys, so let us move further now. Rest one again. And now let's create this stuff over here. Let's add a new word, rest and one, and let's place it over here. You can move back to the Selection tool now that this yellow icon does not appear again and again, place it over here and start extruding. What we will do is now we will move along this line and make this single object. This way we can separate objects. First, we will create this, then we will create this object at the bottom to give it like a layering effect. We don't want to put them all into a single object. X-ray. Join these two vertices, select them both and press a to select everything. Then again press F. All right, Next press tab again and select any one single vertices. Press Shift plus D to duplicate this, and let's place it over here. Again. Start extruding. Again, like to save some time, you don't have to be very precise with it. You can just move roughly along the lines because no one knows how actually it looks like. So you can just roughly place your vertices. You don't have to be very precise with them. Also, these objects will be like really small and appear very small inner cameras, so we don't really have to worry about the appearance that much. So I kind of moved off the wrong direction from here. And you go like this over here. Now let's move to simply like this because this part when we really visible, so I will just place my vertices roughly along like this. Let us join both of them to select everything then plus f. Next what I will do is these two are kind of overlapping. So press three for free, select, select this face Presby, and separate these by selection. So now they both are separate objects. Again. First let's reset the origin to set origin and origin could geometric. Let's place it like this a little bit back. Select this piece press tab. There's a to set everything and extrude this like this. This one also like this. Let's share smooth them both. And enabled auto smooth, hold Alt and then enabled or to smooth do enabled for the both of them. Give it a little bit more thickness. Already pressed one again. Let's quickly create this piece. I'm not sure if this thing is the shadow of these designs. It is actually the part of the design because this thing definitely looks like a shadow. I'm not sure. Let's just create it. If it does not look right, we can just remove it at any point. Let's add a single word again. Quickly create this shape over here like this. And then just quickly please a long word season joined them both. Press F, press a to select everything. Then again press F. Let's reset the origin. All right. Now what we can do is select this piece, estab again, enable X-ray. Let's press K for the knife tool. Let's create this circle like thing. Again, just, I'm just roughly placing vertices. Just do it something like this. Maybe select this face, press I to insert this lecture. Let's extrude this outwards. Scale it down. Press I again. One more time. Let's move this behind. This. A little bit of detail, and let's just join all three of them now. Select all three of them, press Control plus j. Let's add a bevel modifier now. Apply the scale. So press Control, apply the scale. My screencast keys were not on two now, I'm sorry, I forgot. Enabled hardened normals. And instead of moving it like this, let us just move it in the front only. Let us try and enabling or disabling clamp overlap. Manually control our bevel. I think lamp overlap enabled was fine. Next lesson. Let's move on to these pieces. Save our files. Let's create this remaining pieces. Now. Again, I will add a single work, one and let's place it over here. I'm pretty sure is the shadow. So we won't be adding this to our creation. So let's just start from here and start extruding. Let's move from inside like this. Next, let's follow these lines and move this way to create that button that the difference image is showing like this. Again, we don't have to be really precise with it. Just move along the line somewhere like this. And keep on following this ridge over here. Now let's just join these two words. See select them both. Press F. Press a to select everything. And then again press F. Alright, select this word, see, duplicate this. Let's place it over here. Let's see, Let's start extruding this word c. You can also do this whole Control Shift and bevel this to smoothen out some of the edges or the vertices that are looking to shop from here. And let's just move over here like this. It just makes sure to stay away from this line just a little bit. They look like separate objects. All right, Now from here, let's just join both of these. Select this vertex and this one. Press F to join them with a to select everything. Then press. Let's just separate both of these objects. Press Tab going to face select mode. Select this face, press B, and then separate by selection. Select this, press a to select everything and press F. All right. Move them. Let's move both of them allergic back. First, let's set the origin to geometry. Stab on both of them and plus a, then extrude them backwards. Right? Let's bring this one a little bit up like this. Now let's just shade smooth both of them. And also to smooth. Now what I will do is just joined both of these and this also that they get the modified, make sure this one is the active object. Active object is the one with the yellow outline. First select this, this, then this one at the last. The reason I am making this the active objectives because I want both of these to have the bevel modifier. So because this object has the Boolean modifier, so we want to make this one as active object. Now press Control G. Now, both of these objects also have the bevel modifier. All right, let's move on to this last piece and quickly create this. Let's start a new vertex. Let's place it over here. Start extruding. And again, we just need to match with the reference image. Let's see how we can, maybe you can go from here like this and then over here like this. Yeah, I think that could be fine. Let's go like this now. I'm trying to go a little bit faster now because reduce really long now. But you guys can take your time creating the shape. All right, Let's move like this. Also one more thing that Eigen suggest you guys is you can just excluding and doing very replicative stuff. You can increase the tutorial speed to like maybe 1.25 or 1.5. I'm pretty sure it would be manageable. Because when I also used to watch $2, I used to watch it like 1.51, sometimes two also. Just to go over this stuff very quickly because most of the stuff we already know, but when it is your first time doing something, then you can take your time and watch it at the original speed. But if you already know about most of the stuff, you can just watch it at 1.5 to save your time. All right, Let's just don't join both of these vertices. Suppress F. Press a to select everything. Then press F, fill in the face. Estab again, select this word, see the Shift plus d. Let's place it over here, I think. Start extruding. This is, I'm pretty sure the shadow. So I'm not going to include this. Let's just move on like this. I'm just making it a bit closer to this one. I think this is fine. Just keep on extruding. Alright, so select them both. Press F. This time hold Alt, and click over here anywhere over this line. To select this complete loop, press F to fill in the face. And select them both. Now press Tab, press a and let's extrude them backwards like this. Set the origin to geometry. Let's place them over here. Let's shade smooth them, and also enabled auto smooth. Alright, select this piece, then select this piece, then press Control J, and join them. Next, I will just duplicate this. So select this piece, press shift D, place it over here. Press S, then x, and type in minus one to flip it like this. And let's place it over here. I think it came out pretty good as it is pretty similar to the reference image. I think it is looking good. I will just hide this reference image, press M, and let's move it to the reference image collection. But first let's come out of the isolation mode suppress slash m, and let's move it to the reference image collection. And let's hide it for now. Obviously we need to scale them down a little bit like this. Let's just delete this one for now. First, let me place this one properly. Rotate it like this. I'm just trying to place it properly the way it would look good. I think. Yeah, something like this would look fine. Just select this again, press Shift D, then press S, then x, and type in minus one. As you can see, it is not flipping correctly. The reason is because I rotated this up by a little amount. So first we need to apply the rotation, press Control a, and apply the rotation and might as well apply the scale also. For this one also. Alright, now if you select it, press S then x, then type in minus one. It will flip perfectly. And let's place it over here like this. Right? I think it is looking pretty fine. The next lecture we will add some light volts over here and give a building a little bit of more structure. Before that, let's just join both of them. And what we can do is let's move them over to the right side. Also. Select this side of the mirror modifier. The middle object. Again, select this, select the z-axis and disabled the x and the y. This one also, obviously we cannot do mirror modifier. So again, we will add the numerator, modify it, select the middle object as this one, the z axis, and de-select the x-axis. Let's hit Save. All right, so I think this much is enough for this video. Thank you for watching. Continue in the next one. 6. Adding more Details: Hello guys. Welcome to chapter five. So let's continue from where we left. If you'll just enable the reference images collection, let's just hide this one. So press H to hide it. Let me enable to swing cost keys. I press one enabled x-ray. You see we needed to create these things, but we're really not visible in this reference image. So let's use a separate image for creating these. So I will just hide all of the reference images. Breast one for the front view. We're shifting and let's start a new reference image. Google to the reference images folder. You will find this one. Yeah, this one. So just double-click and open it up. This has a very clear view of what we need to create. So let's just hide. We can just select this press Slash to go into the isolation mode, press one for the front view. And let's add a single word. So press Shift a and add a single board. Make sure you are in the vertex selection mode. So breast one and place it over here. For this, I'm going to use the mirror modifier. To use the mirror modifier predatory first I need to move this origin point exactly over here, only go over to Object set origin and origin to geometry. So now you can see the origin is right over here. Let's start the mirror modifier now. Now if you press Tab, press a to select everything and then just extrude this. You can see the right side. The right side. Now you'll see that for the right side of the mirror modifier will take care of. So we just need to create the left side. Let's select this and press E to extrude it. Let's just move like this. And please this vertex over here, this out. Alright, now we just need to join. Both of these worlds. Sees, again, the mirror modifier is not perfect with the image because the image is again, unsymmetrical. We don't really have to worry about that. Let's just join both of these vertices. So press E and you can see they're crossing each of them. Suggest to enable clipping from here and join them like this over here. Joining these two are also now we can just hide this reference image. So select the reference image, press, select this press Tab, press a to select everything. Then press F to fill in the face. Right? Now again, press Slash to come out of the isolation mode. Let us select this piece and then select this piece, then slash to go into the isolation mode. So we can work with these two only. What I will do is I will select this piece and just disable the mirror modifier for now. So you can just click over here to disable it from the viewport, like this one. Let's just place it over here and scale it down. Now you'll see it is not lining properly. So to line it up properly with this object, what we will do is we'll select this press Tab and go over here and enabled proportional editing. This will do is maybe select one word c, then press G to move it. You can see all of the vertices are moving together with it. Like control this movement. Select this word C plus G. Then increase or decrease your mouth scroll wheel like this to control the area that you want to be effected. For example, if this mode only the vertices that are in this circle are being affected. And if you just increase it, you can see all the vertices are now being effective. So it is a really great function to move a lot of vertices proportional to each other. But what I will do is instead of click over here and instead of using smooth, I will instruct use sharp. Now press Tab again, select, select this coordinate at C and just move it like this. Over here first. Let's now select this one and let's move it. Click this. Next, select these vertices and Linnaeus place them like this. All right, So I think it is looking fine. It is matching up with our object. Now. Press Tab to go into the Edit mode, press a to select everything, and then plus e to extrude it backwards like this. Now let's just place it. Disabled professional editing first. The shortcut to enable or disable proportional editing is all. Just press Disable it. Seven for the top view. And let's just place it like this. I'm just scaling it up a little bit on the different axes to line it up properly. It is kind of weird from here. So press Tab again, rest two for the edge select, and let's select this edge this time, seven sodium plus one. Let's move it. Increase the proportional editing size. Let's right-click and sheets mode. This enabled auto smooth from here. Let us start a bevel modifier. Also guys, it is not perfect right now. But you can take your time to make this loop even much better. I'm just moving just a little bit to make them better aligned with everything. This is much better. Let's select this edge and let's move it a little bit down. Enabled harder than normal from here. Next, what you can do is if you are happy with all of the adjustments you can enable the mirror modifier. Do some individual adjustments over here, I think Let's move it up like this. I think it is looking fine now for establishing, let's select this face and this face also. Press I to insert that. Make sure you're not inserting too much. I think this is fine. Now let's press E to extrude it backwards. Also, you can go over here and enabled disabled clamp overlap and adjust the development on your own. We are seeing some issues over here, but we can solve them. Just hold Alt to first for select hold Alt and select this loop and do two times. Move it out of the veil like this. Because they were overlapping with each of the dark sky. It was causing issues. Let's solve it over here also. Hold Alt and select this complete loop plus G2 times. Move it like this. Here also we have some issues this course because we use the insert like electric bit too much and it caused the edges to merge with each other. You can see the issues are resolving. Alright, so I think this looks fine. Now, let's come out of the isolation mode and check if everything is looking fine. Next, I will create for these bottom sides also, select this piece only. Shift D, and let's move it over here. What I will do is enabled extra Mode tab. And let's just completely delete the one side. X and dilute the world sees slash to go into the isolation mode and let's fill in this face. Hold Alt. Select this complete loop and press F to fill in the face. Slash again and select both of these objects is paying. For the front view. Select this and rotate it by 90 degrees. Then press S to scale it, then press X to scale it on the x-axis and type in minus one to flip it like this. Let's place it over here. Scale it up a little bit. I'm just decreasing the scale according to the size of my other object. I think this is fine. Now let's just select this press shift D. Move it over here. First, let's apply the rotation, press Control a, and apply the rotation and the scale degrees, the bevel because we just applying the scale, it messed with that bevel amount. Alright, so I think this is enough. This again as S then x and type in minus one and flip it like this. Let's move it over here. Alright, so press Slash again to come out of the edit mode. And let's just check everything. Yeah, I think it looks pretty good. So let's save our files. Also. Let us apply the scale for these to press Control a, apply the scale. Now we need to adjust the development. For this. We use point triple 034, this also point triple 034, this one also point triple 03. Press Alt H to bring back the hidden objects and let's move it into the reference images folder. Press M and move into reference images. Thank you for watching. I'll see you in the next one. 7. Creating the Walls: Hello, welcome to Chapter six. Let's continue. The first thing that I will do is as you can see these pieces over here, we need to mirror them over to this side also. So what I will do is let's just join all of them. So select all three of them. Let me down on Screencast keys yes, to all three of them and then press Control plus J to join them. Then let's add a mirror modifier. Now we need to select the mirror object as this one. Then select the z-axis, I think. Yes, disabled the x-axis. And yes, everything is fine. It is mirrored correctly. Alright, let's move further now. So first thing that I will do is I will add a queue, suppress the one for the front view. And I will tell you one thing. If you press Shift a and add a queue, you see the cube is added over here. The thing is, the cube is added according to this 3D cursor that we can see over here. If we just delete this cube, select this object, press Shift plus S. Then select this option because there are two selected. This will bring this closer to the origin point of this particular object. Now if I press one and add a cube, now, you will see the cube. A cube is added over here. This is a pretty handy shortcut. If you want to add a particular object at a certain location, you can change the position of the cursor by holding your shift and right-click like this. By holding down your right-click and holding shift, you can just move the cursors location and also you can change it by the shortcut Shift plus S. Just select the object, press Shift plus S. And there are multiple options that you can send the cursor to world origin. You can send the cursor to select it. If I select cursor to select it, it will bring the cursor over here. Let's start now. What I will do is I will scale the cube. Maybe I can directly use the mirror modifier, super estab, press Control R. And let's add edge loop right down the middle. Do not move this, you just need to hit right-click and it will be exactly at the center, like this. Now enable X-ray and just select all of these right side vertices. Then plus x and delete them. Let's start a numeral modifier. Disabled x-axis. And now we can work only on one side and mirror modifier will take care of the rest. So just disabled X-ray 34 fifth select. And let's select this face and move it over here, I think. Restaurant one for the front view. Let's select these bottom vertices and move it about here, I think. Then select all of them and then press S and then X to scale it on the x-axis like this. Now what I will do is just scale them in words like this. Next, let's add another edge loop. So press Control plus r, and let's add an edge loop right down the middle. Scale it inwards like this. Just scale it on the x-axis. So press S then x at scale it like this. Let's start another one and scale it in words. Make sure that cube is not visible from the sides. Alright, Next I will do is press Tab, add another edge loop right down the middle like this. Press to select this edge, press one and let's move it down like this. Right about here, I think. Then press Tab and first let's apply the scale estab again and just select this edge and then press Control plus b. Like this, you can use your scroll wheel to increase the bubble segments. I think something like this is fine. Now you see, we cannot see are details that we created earlier like these ones. So for this, what I will do is first let's enable our reference image. If you press first, let's just disable this one. So plus h and this one also press H to hide it. I just needed this image. Enable X-ray. And you can see this triangle kind of thing here. So let's add another cube. Scale it down. Place it somewhere here. If you can see it. Scale it on the x-axis. Let me press stop so you can see it easily. Now press S then x and scale it like this over here, and scale it down on the x-axis again to create this triangle shape. Now I need to create this cutout. This, now I need to create this triangle cutout onto this cube. So to do that, I will use booleans. So to use booleans, what I will do is to make it easier, go over to Edit Preferences and an add-on section search for bull tool. Make sure you enable this bool2int add-on. Now what I will do is first select this piece, then select this piece. Then if you hold down Control and hit Minus on your numpad, you will see we have created this cutout like thing using this object. If we now select this cube and you try to move this, you can see we have created this triangle like cutout into this object. So these are the Boolean functions or the Boolean modifier. There are two different kinds of Boolean modifier. So if you just click over this object, you can see over here, one of them is difference, another one is union, and the third one is intersection. We just saw. What difference does the defense market creates a cutout like this one. The Union adds them both. And for intersect, let me show you by another example what intersect more does. So we just create two different cubes like this. Let us select this 1 first, then select this one. Now if you hold Control and press Slash on your number back. Now you can see what Intersect mode does. You see this has created like a cutout lighting. Now you can see where they intersect more does it has created two different objects, this one and this one. And if I add a bevel modifier to both of them, the difference would be even more than or disabled, just enabled hardened normals and enable auto smooth. With this one also, I will add a bevel modifier. You can see it has created like a panel like fit. The intersect mode is like really helpful when creating sci-fi type designs are hard surface models. We might use it later on the course. So I'm just telling you about all the different modes of the Boolean modifiers, the union one is really self-explanatory. If you change this to union, it will add both of the objects. You can see both of the cubes have joined like over here. If you just enabled hard and normal from here, you can see they both have been added to each other. Now if I change this to difference, this cutout has been created. And for intersect, this is the result. So that is pretty self-explanatory. Let us just delete both of these cubes. Now. Focus on this again. I will select this triangle shape and move it a little bit further. Next, let's select this and add a bevel modifier. Apply the scale. Select hardened normals and enabled auto smooth. There's one press tab and enable X-ray, select all of these vertices. And let's move it a little bit more down like this. Scale it on the x. I guess I will move it over here somewhere. Select these pieces also, move them back. I think this is fine. Next what I will do is I will merge this Boolean modifier over to the right side also. So to do that, let's just select this piece. Go to the Modify section. Move the mirror modifier below the Boolean modifier. And you see we just needed to move the Boolean modifier at the top of the stack. So it happens at very first. First, the Boolean, the cut-out is made of this triangle like ship. Then the mirror modifier is used to mirror them at the both sides. And then at last the bevel modifier is used. It is really necessary to take note of your modifier stack. Next, let's just select them both and move them a little bit upwards. Stab enable X-ray. And let's just select this right side. I'm moving down. I think this is much better. Let us save our files to see if everything looks fine. Let's move further now. Alright, so let's continue now. Suppress one. Let's enable X-ray and let's create these cubes now, I will add another cube, scale it down. One thing that I think we need to do is we need to increase the size of this. So select this Boolean, estab, naval X-ray. Let's select all of this and let's move it over here, I think. Scaling it on the x-axis. Select that cube again, and let's place it over here somewhere. Like this. I will do is I will just select all three of them. And let's just scale them down a little bit because I think they're too big right now. Place them over here somewhere. Okay, I think this is much better. I will move this piece over here somewhere. Let's just duplicate this and create another cube. And place it like this. This Boolean object again. And let's just move it up a little bit over here, I think. Next I will just join both of these cubes. Press Control G. Let's add a bevel modifier to them. Also apply the scale. All right, I think this is much better. Next, let's move on further. I will add another cube. Scale it down. Let's see, scale it on the x-axis like this. Place it somewhere around here, decrease the scale on the x-axis. I think this module is fine. Next, what I will do is I will just select this press Slash to go into isolation for seven for the top view. Let's just duplicate this, rotated by 90 degrees, please. This cube like this. Again, I will duplicate this one also and place it over here. The last thing, select this one. Duplicate this represent Shift plus d y, and place this one over here. Let's put slash to come out of the isolation mode and check if everything looks fine. I think it looks fine. What we can do is be able to reduce the scale of this a little bit. Scale it on the x-axis again. Let's just delete them with and place it. Again. I think this is much better. So quickly I will just duplicate them rotating by 90 degrees. All right, Now it's done. So let's put a slash to come out of the isolation mode. And let's check if everything looks fine. Yeah, I think it looks good. Let's just select all four of them and join them to press Control J and add a bevel to this. Apply the scale. I think something like this is fine, shares mode this and enable hardened normals and auto smooth. Alright guys, so now let's create some wooden planks to do Dale are building even more. So I'll press one for the front view. Let's add a single word. Let's see, I will place it selected, press one for the vertex select. Let's place it somewhere here. Now what I will do is press E and Z and extrude it till here I think. Maybe something like two units to these two big boxes. Select this again. And it lets me move it somewhere around here, I think. Let's just move it a little bit over here. Now I'll select this, press E, extrude it towards the bottom. And I'm just trying to create a little bit of interesting shape. Just select both of them and join them. Also, what we can do is select this piece, I mean this vertex, rigid and hold Control and snap it to this. I think something like this will be fine. Select this one, this edge, move it a little bit over here. Select everything and press F to fill in the face. Next, what we can do is, let's use a mirror modifier to create it on this right side also. But for that, we first need to change the location of the origin because right now if we add a mirror modifier, you will see there is a huge gap between both of these. To solve this issue, we just need to move the mirror modifier over here. So to do that, let's just select this edge, press Shift plus S, and then closer to select it, bring the cursor over here. Now I just need to set the origin to the cursor's location. So go over here to Object Set Origin, origin to 3D cursor. Now you'll see it has solved that issue. Let's rotate it by 90 degrees like this, and also extrude it. Something like this. Let ships move this and also enable auto smooth. Let's press Control plus seven for the bottom view. Let's place it over here. Estab, select all of these vertices and move them a little bit further. And let's move this like this. Next, let's use a numerator modifier one more time to meditate on the right side. So I will select this as the mirror object to the y-axis. And you see it is working perfectly. Alright, let's add a bevel modifier now. Scale. Just the bevel modifier. Enabled hard and normals. Alright, we're good to go now. Let's just press three ones and move it a little bit over here. This is fine. Let's see what files now and we'll continue from here in the next one. Thank you for watching. 8. Finishing the Walls: Hello, Welcome to chapter seven. So let's continue from where we left. Or do I will do is I will select this piece. And I will just give it a little bit more detail. So let's press Slash to go into the isolation mode. Next, what I will do is I will just disable the mirror modifier just for now. Three, for the side view stab. Let's add an edge loop. I will add an edge loop here. So press Control R loop over here. Like this. Sorry, another edge loop over here. Now, let us just snap them together. Let's move it over here. I think somewhere around here. Select this edge plus two for H, Select, select this edge, G. Then by now hold control and snap them together like this. Next, press one for the vertex, select and select this vertex, then select this one. Then press J to join them. Now select these two and plus J to join them. Now we have successfully created a face like this so that we can easily select it now, suggest select all of this. These phases also hold shift to select multiple phases like this. Now what I will do is Shift D to duplicate it like this. Then hold, then click, right-click to keep it at the original position. Only like this, we do not need to move it anywhere. Now press P and separate the selection. What we did just now is we just selected those faces, duplicated them, and now we have made it a separate object. You see, this is a separate object and this is a separate object. Next what I will do is press Tab. There's a to select everything. Then press Alt plus a0 and then extrude faces along the normals. Extruded like this. I think something like this is fine. To give it. Something like this kind of look. Next, let's enabled back the mirror modifier and select this piece and add the mirror modifier to this one. It is automatically added. We just need to enable them. Next what I'll do is press Tab again, Let's select both of these phases. I again to insert them like this. Then press Alt plus E again, and then let's extrude them inwards like this. Alright, let's hit Save. Now. Next let's create a pillar to add to our building. If you just press one, Let's say it goes back to its original list. So press Shift plus S then closer to the origin. Now if you press Shift a, go to Image at a new reference image in the defense in which folder you will find a very basic dealership, this one that I created on my own only. Let us just create this slash to go into the isolation mode. Let's add a cylinder, scale it down, enable X-ray. Let's place it over here. Step four, the edit mode, select these edges, are these vertices, move them over here, select them and let's move them up the top. Now again, we need to just extrude this like this, and scale it outwards. Extrude, press S to scale it outwards. All right, we're done. That was pretty quick. So let's just delete this reference image. Right-click and shade smooth this. Let us enable auto smooth and add a bevel modifier. Also don't forget to apply the scale. Just the bill amount enabled hardened normals. And in order to smooth is enabled slash to come out of the edit mode. Let's place the pillar over here. Now, let's first change the scale of it. Select this. First. Let me change the origin back to its original place. So set the origin to geometry. Let's scale this down to somewhere around 0.3. I think somewhere around here is fine. Control plus three and let's place it somewhere over here. This. Next Let's try adding a mirror modifier. Mirror modifier to this. Let's select the mirror object as this piece. All right, I think everything looks fine now let's hit Save. And now let's add volts to a shrine. Short I will do is select this brush Shift plus S goes into selected to bring the cursor over here. Let us start a plane displayed by 90 degrees. One for the front view. Let's scale it up on the x-axis. Then on the zag. Let's scale it down a little bit. Here, I think is fine because we will be creating some stuff to fill up this empty space that you can't see. So don't worry about that. Let's just duplicate it to the all four sides. Press Tab to go into the Edit mode, press a to select everything. Before that, what I'll do is just select this displaying and the pillars, then press Slash to go into the Edit mode, B7 for top view. Now press Tab to go into the edit mode of the plane. Select this face. Now press shift D, then press Y. And let's place this one over here. Just select both of them, suppress a, duplicate them both, and rotate them by 90 degrees. And let's please look like this, this phase, and let's move it over here. Alright, let's come out of the edit mode. Suppress, sorry, let's come out of the isolation mode. Slash. Alerts, see how everything looks. Select these vaults. Let's solidify modifier to them. So solidify modifier will give them thickness right now. If I remove the solidify modifier, they don't really have any thickness because they are just basic planes. So let's give them thickness first, let's apply the scale. You can control this thickness by this value. I think the default values find, let's increase it a little bit. Alright, the slash alerts save our files now. Guys, let's keep on moving further and add some more details. I will add another cube, and I will place this one around here. So select this piece, these pillars, this piece and this Q slash seven for the top view. Let's scale this down and please this one around here. Let's scale it up on the x-axis. I'm just changing the scale of it to find what looks right? So let's just scale it down on the third axis, like this. And now let's scale it down on the why. I think something like this will be fine if we wanted to get my exact dimensions. You can see from here, just rounded off to 0.09. Yeah, I think something like this would be fine. Next, what I will do is let's add an edge loop in the middle. First controller, then hit right-click to set it at the middle only enabled x-ray. And let's delete all these vertices on the right side. Now let us start a mirror modifier. Next, let's just duplicate it over here. Old school. Maybe we can use a mirror modifier for this, to just select this numerator modifier. Come out of the isolation mode. Select the mirror object as this. Yeah, I think it works, works perfectly. Next, let's add a bevel modifier to this. Apply the scale enabled hardened normals and also enable auto smooth. Let's select this face, press I to insert it. Let's extrude this outwards like this. Use the bevel amount. Next part I will do is I will select this piece that we created earlier. Duplicate this. Let's remove them. Very modifier for now. Both of them. No, just the second one. Plus rotate it by 90 degrees minus 9030 on the z-axis. Place it over here. Press Control plus three, and let's place it right about here, I think. Press Tab to go into edit mode and let's give it a little bit more thickness. Super slash for isolation mode, select these two phases, move them back. I think around this much will be fine. Let's increase the scale a little bit more. I think this much will be fine. So let's start the mirror modifier now, a new one. Select this as the mirror object. And also select the y-axis. I will do is I will just select this cube once again. Press three for Face, Select hold Alt and select this complete loop. And scale it outwards. Just scale it. Press S, then press Shift plus x and scale it like this. And now select this face and scale, move it inverts. I think this is much better. Let us save our files. Now. I will select this piece, press Shift plus S and closer to select it to move the cursor over here so that I can add a new object and it will be added right at the center. So we'll add a new cube. Let's scale it up. Scale it down on the z like this. Now what I will do is I will just select each and every face of the cube and move it just very close to the pillars. So press tab, select this face and place it right about over here, I think. Next, select this face and place it close to the pillars. Press S then Zach to scale it down on the z axis. And largest scale it to 0.2 meters. I think we'll be fine. Next, let's apply the scale. So press control a, apply the scale. Press Tab to go into edit mode. Press two. Now hold Control and Alt, and just click on this edge. What this will do is it will select all four of these edges. These four. So it is the shortcut. So just hold Control and Alt and click, click over here. Now press Control B to bevel them. Again, you can control the segments by moving your scroll wheel. I think something like this would be fine. Let's shade smooth this and enabled order smooth. Also started a bevel modifier to this. All right, Next product we'll do is select this one. Shift D and move it to the bottom over here. Press S, then shift to scale it just a little bit on the x and y plane only. I'm hope you are aware with the shortcut whenever like for example, if I'm trying to scale this planes, if I press S, that it scales in all, all of the directions. If I press S, then x, it scales only in the x-direction. But if I press S, then press Shift plus x, it will scale in two planes. Like if I press Shift plus x, it will scale in y and z depends, as you can see by the color. Also, if I press S, then Shift plus z, it will scale in both x and y plane, excluding the xy-plane. This was the shortcut that I was using. Next, what I will do is let's move these vaults a little bit in the front. So press tab, select these volts and move them. I think right about here. But all of them, just move them a little bit in the forward direction. This one also. I think this looks much better now, we have given a lot more details in this video to shrine. Us save our files now and we will continue from here in the next video. Thank you for watching. 9. Creating the Shrine Gate: Hello, Welcome to chapter eight. So let's start some more details now. I will select this piece. This wouldn't blank press Slash for the isolation mode. Again, I will press tab and select all these phases. One more thing that you can do is to select things is you can proceed. You can just select like this. Then hit right-click again and select. This is a quick way of selecting things. You can increase or decrease the size of the selection circle by your scroll wheel and then hit right-click when you are finished. Alright, so let's again press Shift D to duplicate this. Now, right-click to keep it at the same position only. Then press B to separate the selection and create a separate object. Alright, slash one more time. Bring these into isolation mode. And now I will fill this back face. Just press one for the vertex select hold Alt, select this complete loop and press F. I will do is I will just remove both of them middle modifiers for now, and I will add them withdrawn. The slash again. I will place this first. Let me change the origin, the origin to geometric. Please see it over here. Like this. Next what I will do is just duplicate this. Rotate it by 90 degrees, I think. Then place it like this. Next what I will do is I will just select them both, join them. And now I will add a mirror modifier. Let's see, I will select this as the mirror object. Cannot this because it is not middling correctly. Let's try this. Maybe. They're just select this piece and first let's reset its origin. So set origin, origin to geometric. Now let's try this one as the mirror object. Okay, So it's still not mirroring correctly. Let's try something else. Maybe this piece. Now it is working correctly. Let's now enable the y-axis. I will disable it on the z-axis because it does not look really good. Next, what I will do is just select all of these, press Shift D to duplicate them. And now placed him like this. Instead. Let's just locate them first. This press S and Z and type in minus one to flip them like this. Next what I will do is first let's hit Save and select all these pieces and put them into the collection. Enable the ref images collection. And let's just hide both of them because I just needed this one. What I will do is I will also turn off this collection so that I can only see the reference image. Now pursue one for the front view. This time we will create this stylish looking blank to add in our building. So for shifting, and let's add a single word. Let's place it over here. Again. We now just need to extrude and match the reference image. Let's move on from here now. Let us see head over here, nothing is really visible. Let's just approximate how things would have looked. I think like something like this is not necessarily need to follow the reference images exactly. Move them down over here. And let's place this one over here. Okay, so over here again, it is really not visible how things are looking. So we'll just create something on my own only. Let's just select this vertex, press E, place it somewhere over here, then press E and then x, and take it straight like this. Select this vertex plus a0 and then move it a little bit further. Over here. I think. Just select this vertex and I'm creating a very basic design. Select this vertex, hold control. I mean, first presented, lock it on the z-axis, then hold Control and snap them together, then select them both and press F. And I think this would look good. So now we can just press Tab, press a to select everything and press F to fill in the face. Next press Tab again, enabled X-ray. Let create these designs. Now. They're not that difficult to create, which we will just use the knife to login. Now press K. And let's start from over here. And just start tracing out the reference image like this. I will go over head like this and just join this one over here. Click it and press Enter, press key again and start from here. Let us just keep on continuing on this spot. If you want to change it a little bit of your view as gay or sorry, press right-click and you can just change your view. And then click over here again and start again placing the points. I will just go over here like this and join this vertex over here. And press Enter. Alright, let's create the design over here. Now. Let's press key again. Start from here. Let's just create this in small batches. Now join this vertex again over here. Then you can press enter. This time let's start from over here. You can also hit right-click and then press Control Z to undo some of the steps a little bit wrong. Now let's join this one here. Let's continue. Press key again. Let's start from over here. Santa, and I'm just going to change the shape of these vertices. Next, let's create this last one. Press K and start from here. Also, I will create this little circle over here. And I think we are done with all the designs. If you want, you can create some over here also. Like for example, we can distress and go here and create a var relating like this. And see if it looks good if it does not really just remove it. Similarly, you can create something over here also. I think this will be enough for me. Let's come out of the X-ray mode and see if everything looks fine. Alright, so now it's time to extrude, select everything, and then just press E and extrude it like this. What we can do is we can build it over to the right side. So to do that first we need to press three, and let's press X and delete all the feces. Select only faces. Select faces from here. Now press one, hold Alt and select this complete loop, Shift plus S and goes up to selected. Now we need to move at origin over here. So we will do origins set origin and origin to 3D cursor. Now if you use a mirror modifier, that is it. You see it mirrors perfectly. If we select maybe this phase, an extruded like this, you'll see it extrudes on the both sides. It is perfect for us. Enable auto smooth, and also add a pivotal modifier. Let's see. Now select this piece, you to extrude it. Let's extrude them at different values to give them kind of learning effect. But also our bevel is gone. Now, what I will do is just disabled clamp overlap from here and adjust the bill amount on my own. Let's see what it looks good. See distinct overhead is causing attribute of issues. Displays to select this edge and let's move it a little bit far away from each other. The vertices are too close to each other than the devil. Modify it can cause some issues. So to solve them, you just need to move them allergic book faraway and I think everything works perfectly. Now, let us see enabled hard numbers from here. Let us say this face and also extrude this one. Right? I think it looks pretty good. Let's save a blended files and press Slash to come out of the isolation mode enabled the collection back. I will place it somewhere around here like this. Oh sorry. Need to rotate it first by 90 degrees. Now I will place it into degrees and I will place it over here. Bring it out in the front like this. Stop doing to edit mode, enabled x-ray and select all these backwards Cs and move them over here. I think. Next what I will do is I will select all these volts to select the top edge of all of them. You can enable X-ray and just select it like this. Let's disable the reference images. I think that we can move it over here in this empty space. Alright, let us now emitter it. So select this numerator modifier. Let's see. Let's try adding this to the mirror object. If you need to check the mirror modifier is working perfectly. You need to check its distance from different objects. The pillar and this piece are evenly spaced are both areas. The mirror modifier is working correctly. All right, so our shrine building is coming along little bit more. Let's save a blended files and we'll continue from here in the next one. Thank you for watching. 10. Finishing the Shrine Gate: Hello guys, welcome to Chapter nine. In this video, we will create a small shrine gate over here just in front of our building. So let's start. What I will do is first let's place this one in the collection only. And I will hide everything. Press one for the front view. And let's move our cursor to the world origin. To do that, you just need to press Shift plus S and then select closer to world origin. Then press Shift a. And let's start a new reference image. If you go into the reference image folder, you will find this shrine gate reference image. Just double-click on it and open it up. Pretty basic structure. Let's create Dart. The shift day and left side up. Vertex may be. Let's place it over here. Next thing that I will do is I will add a mirror modifier to this. Let's see if it's working. I don't know if you can see on the blackboard background, but it's working correctly. Let us place the just a second. I will extrude this, press X and lock it on the x-axis and let's place it over here. Next, what I will do is I will also enable clipping from here. And now you're skip on extruding. Now if you have been able to flipping the two of the vertices will join over here. Now press a and press F to fill in the face. Let's enable X-ray and create these designs again as we did in the earlier wooden plank suppress k. First we need to press Tab, and now let's press K for the knife tool. Let's create this small circles first. Make sure to include the shadows data visible in this render. You can hit right-click to finish with it. You can start placing a new one also like this. Right-click and hit Enter. Press one again. Start over here now, again, who tanked up? Let's do this last piece. Rescue again. Let's start from here. Right-click to pause it for the moment and let's reposition our view and start again. Again, I will just prescribe, change my view and under three start. Alright, so we are done now. Hit right-click and press enter. And we are done with this piece. Press Tab, press a to select everything. Firstly, select this reference image and move it. Or here. Select this first tab and extrude it backwards like this. Now let's select all of these things and extrude them forward. We still need to create these small design. So let's just undo quickly. One again, enable X-ray, and let's quickly finish this. All right, so now we are done. Now I will extrude all of them. Go into edit mode, press a to select everything, and let's extrude this backwards. Enable X-ray 34 Face Select, and let's select all of these phases. Make sure to select these small faces also. Now let's extrude them. This right-click and church mode, this enable auto smooth. And also let's add a bevel modifier. What we can do is first let us apply the scale and also it's disabled clamp overlap and adjust it on our own. I will give you the bevel value of maybe 0.015. There are some issues over here. Let's quickly solve them. Press two for H, Select, select this edge, move it. Try moving it a little bit far away from other reduces. I think this solve the issue. Next, what I will do is I will enable hardened normals from here. Best everything seems pretty fine to me. I don't see any of the shooting issues. Alright, so let's move further now. This piece is done. Press one again. Let's move on to creating these pillars. So I will add a cube this time. Let's scale it down, place it over here. Press Tab to go into edit mode, press one for vertex, select these vertices over here and these ones over here. This piece. Just scale it down a little bit. Alright, now select them. Press E to extrude. Scale it up a little bit. Extrude again. Like this. Click and shift mode enabled or the smooth. Let us use the mirror modifier on this item mirror modifier to this. And let us choose the mirror object has this one. Next, select this piece, shift plus S and closer to select it, this time I will add a new cube. And let's place this one over here. I press S and then Shift plus z to scale it on the x and y plane like this. Let's apply the scale and add a bevel modifier to this. Also. Along with the mirror modifier to the mirror object has this piece. Alright, let's add another cube step to go into edit mode, enable X-ray and select all of these vertices. Let's, let's place them over here, extrude them, and then scale them outwards like this. Then again, I will extrude them and this timescale them a little bit inwards. Again, the same steps. Let's add a bevel modifier. We need to add a minimum modifier. Next, let's create this. Scale it up a little bit more. Next, let's press Control plus r and two edge loops like this, these vertices and move them on x-axis this way. Now I will say these three phases. Then press X to delete them. Now select this edge and this edge. Then press F to fill in the face. Select this edge and press F and this one and F. Alright, so press Slash to come out of the isolation mode and let's enable this collection. I will move this further a bit on the y-axis like this. Select them also and move them over here. Now select this piece, press Shift plus D to duplicate this and remove the mirror modifier. And actually we just need only 11 of the objects. The shortcut is you can hover over the object and then press L to select it, and press X and delete the word sees. Now let's just select this one. And I will paste this piece over here. Seven for the top view. Let's place it something like this. Again, let's start a new mirror modifier. Let's scale it up a little bit. Let's see in our reference image what we can do is just press M and move this to the scene collection. I will just disable all of these objects so that I can see properly. All right, so I think we're good to go again. And now let's create the stuff over here. So these are pretty simple. Just press shift D and let's add a single word. Paste this over here and quickly extrude this. Now the shape is done. So let's just select this vertex per shift plus D. Explanation it over here and feared them vote in the same object. Press E. Again, extrude the stuff. Now let's just join these two vertices. So press select them both first, then press F plus a to select everything. And then again plus F to fill in the feces. Let's move it over here. Dab to go into edit mode, select everything, and extrude them outwards on the y-axis like this. Modifier, apply the scale. Enabled hardened normals and also enable auto smooth. Let's remove clamp overlap under just dishonor own. Somewhat Caesar causing issues. Let's just quickly solve them. Estab, select this edge residue two times to move them farther away from each other, like this. Here also. This piece also. Just shift smoothness first. I think we are good to go first, let me reset the origin. So let's reset the origin to geometric. Scale it up just a little bit. Move it on the y-axis, x-axis like this. This piece. Again, Let's first set the origin to geometric, or sorry, we cannot really set the original geometry right now because this object has a lot of like mirror of mirror modifier is dependent on it. Right now we cannot change the origin. Let's select all these phases. First. Note I will do is I will reduce the thickness of this. Press G and then y unless reducer to this much I think. Let's move it over here. Good cause some issues over here. Let me see. Carefully select all these back faces only and not some of these pieces accidentally. Now let me reduce the thickness and let's place it over here. Alright, so to express slash now, let's just enable the collection. Select all of them, rest one, and let's place them. What is going on? Let me just see. I forgot to select these two objects. Now move them together. They will move fine. Let's increase the scale of it. Let's see. Select both of these and move them in the center, like this. Select this piece and move it a little bit down. Just select all of them. Press G and y, D and x 30, and move them a little bit inverts like this. Over here. I think what we find next one again, Let's select this one. Press Tab enable X-ray. Now select all these phases and move them inwards like this. I think this one should be fine. This is really a preference thing. You can adjust these things however you may like. But I think this is looking pretty good. Let's just save our files. More than that I will do is press Control plus three for the left side view. Select this object press Tab. Again, enable X-ray. Let's select all of these. Press G and Y, and let's move it at least till here. I think that would give it a much better look. Alright. So I think a shrine is looking pretty good now, I didn't this much is enough for this video. We'll continue from here in the next one. Thank you for watching. 11. Creating the Shrine Box: Hello, Welcome to chapter ten. So let's continue from where we left. The first thing that I will do is as you can see, there is some empty space over here. Let's just select these walls, select this piece and this one. Press Slash, go into the isolation mode, rest one. And I will just put a simple cube over here. So let's add a cube, scale it down. Let's just place it like this to fill in this empty space. We will see to it if you will add something later on, but for now, let's just fill it like this. Go into the top view and let's just scale it on the y-axis. Bevel modifier to this and also apply the scale. Make sure to always apply your skill. Because it can, because if you don't, it can cause to mess up your modifiers and different commands that you use. Let us apply normals and also to smooth slash to come out of the edit mode. And I think it looks fine. I will just scale it down a little bit like this. Now in this video, what we will create it, we will create a box-like thing that is usually placed in front of shrines. Just open up your rough now cause I don't have a direct reference image for it. Let's right-click and go over to load, load recent. And I will open these reference images. Just wait for the scene to load. Alright, so I have a reference image over here of dark box. Yeah, here it is. There's just double-click on it to make it full screen. And let's create something like this. Alright, so the first thing to do is obviously Add Cube, press Shift T, and let's start cube. Place it over here. Let's scale it down. Also press N, this right side toolbar, and let's check the scale. I will decrease its height on the z-axis. I think somewhere around here. Next, let's press S then y, and scaled on the SEC to 0.65. Okay, so let's select it again. I will increase the scale a little bit on the z axis. I think this is fine. Place it somewhere over here. Next, let's create its legs. So let's select this Q first. Let's set the origin to geometry. Also apply the scale and press Shift S and then closer to select it and bring the cursor over here and press shift D. And let's add a new cube. Scale this down. Place it over here at the corner to create its legs. Let's scale it up on the z-axis like this. Press S then Shift plus z to scale it on the xy-plane like this. I think this much would be fine. Next, what I will do is I will duplicate it on all four sides, so we'll do that. First. Let's just isolate it, select them both the slash. Next, select this piece. Let's add a mirror modifier. Select the mirror object as this one, and then just simply select the y-axis. Next, let's create a little bit more detail in the legs press tab. But first let's just apply the skills. First controlling and apply the scale, stab, the stew. And let's select this edge, G and then y. And let's move it over here, I think. Next what I will do is establishing control are four edge loop. Let's please edge loop over here. This edge, then move it inwards like this. Next what I will do is I will hold Alt and select this complete loop, then press Control plus b. Ambivalent like this. Then give it a little bit more segments. Let's right-click and shade smooth. Enable auto smooth. And also large stock dividend modifiers to this. I think it is looking fine. Just increase or decrease the size of these legs. Select this edge. Let's select the proportional editing and move it a little bit like this. Instead of sharp, Let's select Smooth. Never mind, I think this was better. Let's add another cube. Scale this down. Place it over here. Press S then chief plus z and scale it like this. I will just actually scale these legs down directly like this pest s. Then why? I think these look much better. Next, what I will do is let's first apply the scale to this and add a bevel modifier. Knowledge squared, this whole lighting. So I will add another cube, scale this down. Over here somewhere. Again, we need to use the Boolean modifier. Select this piece, then select this one, then hold Control N minus. Then again select this and then select this week cube and press Control plus minus to create something like this. Next, let's artists Lynda. Without clicking any bit, open this menu up and decrease the vertices of the cylinder. Something like these lines as you can see over here. I think six would we find down, rotate it on the x-axis by 90. Scale it up on the y-axis, somewhere over here. And next I will use a modified to duplicate them. Add a modifier. And the way you can use the other modifiers, you can increase or decrease the distance from here on all three axis, like this. But we just needed on the X. Then you can increase the count from here. Let's decrease the distance between them. Then increase the count. Let's set it to make these Z fighting goal with. This is happening because the two phases are colliding with each other. So just simply solve this. I'll press tab, select this huge space over here and move it down like this. Just do it here. I think this looks much better now. Next what we can do is select this piece press Tab. Let's move this face down over here. It's Control R. Let us start the edge loop like this. And hold Alt and select this complete loop. Press D and extrude faces along normal. Estab again, let's select this face, press I to insert this. Let's insert a tilde here. Hold Alt again, and select this complete loop and extrude this outwards. Let's do something similar to this cube and establishing, let's select this face. Plus i to indicate. Let's insert this one more time. One more time. Hold three. Press three for Face. Select hold Alt and select this complete loop. Let's extrude this inwards like this. Press Control R. Add another edge loop over here. Again, hold Alt. Again, hold Alt and select this complete loop. Unless extrude this outwards. Next, let's do something similar over here on these phases. So what we can do actually is I forgot to use the mirror modifier versus user. Now, press Control R and let's add an edge loop in the middle only. This enabled x-ray. And let's select all of these vertices on the right side plus x and delete them. Next, what I will do is add a mirror modifier. Alright, so now it is working perfectly for establishing, let's select this face. I insert this again. Let's scale it up a little bit on the z. Again, I will insert one more time. Then again, like this. Let's select this complete loop. So hold Alt and extrude this outwards. Let's extrude this inwards like this. I think it is looking pretty good. Let's hit Save on a file. Next, what we can do is select these legs, enable X-ray. And let's select all of these phases. Shift D to duplicate this, then hit right-click to keep them at their original position only like this. Then press B and then separate the selection. Now let's select them plus a. Then Alt plus e, then extrude them along normal. Select this right out of the isolation mode. I think it's looking pretty good. So now we're done with the base look of the box. Let's now create some of these designs that in the reference image that you can see. Okay, so let's minimize your risk for now. I'll just click over here and minimize this. Let's bring in a new reference image, press one for the front view, press shift D. Let's start a new reference image. You will find this corner design. You can find videos of these on internet, on Google. If you want to try out some different design, you can go for it, your search up Gardner designs and you will find various different designs. I will be going with this one. So let's add a single word listed over here. Join them, so select them both. Press F, just select all of it, the Shift plus D. Let's go here, Let's rotate it. Also. I think we need to flip this by nine. Suppress S, then x, and then type in minus one. To flip this. Alright, let's select a single vertex, press shift D and place it over here. Now we are done. Let's just join both of these vertices as a to select everything and press F. Let's just hide this reference image for now. We'll do object and set origin to geometric. Scale this down please, it over here, rotated by 90 degrees. Just place it like this scale, this down. Press Tab to go into edit mode and let us just extrude this like this. We don't really need to add a bevel modifier because this is too small. Like a very small object, it won't be even visible from faraway. Let's just add it to give it more details. Now I will use the mirror modifier. Outside the mirror modifier, select the middle object as this cube, and select the z-axis. This kind of not mirroring properly. So what I will do is I will add them. We didn't modify it and select the object as this one. Now let's just duplicate this and scale it by minus one on the third axis like this. Place it over here. Next to the same thing overhead also, select this object, duplicate this. Rotated by 90 degrees. Place it over here. Let's see if the mirror modifier works. We need to just duplicate this and scale it by minus one on the z-axis to flip it like this. All right, let's hit save. Now, if we will open back the pure ref file, you will see there is a crest like thing in the middle of this. So let's create that now. Minimize the referenda again. Now if you press Shift a and add a new reference image, you will find a particular reference image. You can see different crests of different Japanese families, I think. So, yeah, you can go for any one. You like. I think I will create this one because it has basically a repetitive pattern. And we can just clear this one piece and then duplicate it over three times. So let's just add a single vertex. Start. Just select them both and press F, select a single vertex again, duplicate it by pressing Shift plus D, and let's place it over here. Again, I will say this vertex to mitigate it as it over here. Just create this GIF site and we can reuse it on the right side also. Now let's join them both selected both of the vertices, press F, hold Alt, and select this complete loop. Press Shift plus D. Again, press S The next, let's flip it by minus one. Like this. Over here. Let's create this final shape. Duplicate the vertex listed over here. I accidentally extrude it two times. Select this vertex, x and delete it. Select both of these vertices, press F to join them. Press a to select everything. Then press F to fill in all the phases. While everything is selected, Let's press Shift plus D. Duplicate this over here. Let's rotate it and place it like this. Let's duplicate one more time and place it over here. Alright, so we are done, I think press Tab to come out of the edit mode. Again, as I said, you can go for any one of these squares, whichever one you like. You can also search for them on Google also, if you find something better, There's just hide this reference image. Select this. First. Let's reset the origin to geometric. Place it over here like this. Now press Tab again. Let's press a to select everything, and let's press E to extrude this like this. Like click and shift mode. This enabled auto smooth. And let's move it back over here. Alright, so I think our box is looking pretty good. What we can do is we can select this piece again. Shift D. I move it over here. Let's place it over here also. You can also move, you press shift D one more time, and let's place it over here. One thing that I will show you to bring, to bring an object exactly at the center of different objects. But you need to do is, let's, for example, maybe this one. Let's select this object. First, press Shift plus S, then closer to select it. Bring the cursor over here, then select this piece, then press Shift plus S, and then select selection to causal. This will bring this piece exactly over here. And let's just bring this down a little bit forward. Right? So I think this was enough for this chapter. Let's hit Save. I will continue from here, the next one. Thank you for watching. 12. Creating the Door: Hello, welcome to Chapter 11. In this video, we will be creating maybe a door like thing over here in the front of our shrine. So let's do that. Press one for the front view and let's add a new reference image. First let me download spring cost is now press Shift a, go to Image and either reference image, the reference image folder, you will find this match. This one. Just double-click on it. Place it over here. Alright, so let's start posting. Let's create this wooden door frame. So that is pretty easy. Let's start a plane. First. I will select this image and move it back over here. Again. Select this plane, rotate it by 90 degrees. Enable X-ray. Let's place it over here, then press S, then x, scale it like this. Just roughly match it with the boundaries. You don't have to be very precise about it. Now let's scale it on the z axis like this. Alright, so I think something like this is fine. Now press Control a and apply the scale. Press Tab to go into edit mode and test 34 fifth select, select this complete phase and press I to insert this. Let's place the insect over here. Then press S, then x, and scale it down on the x-axis like this. Next what I will do is to press two for the edge, select and select this edge. Because g then move it like this and hold Control to snap it over here. Now, in both of these edges are merging with each other. So we really don't want that. So plus three and let's select this complete phase and press X and delete the face. Alright, so now everything is fine. Just to check if we don't have any merging vertices, I will just select and move my vertices so that we don't have two vertices in a single place. Also, to solve this issue, to see if you have two vertices in a single place, what you can do is press a and then plus M, The M to merge the vertices and select by distance. You can see it shows 0 vertices. That means we don't have any kind of double vertices. For example, if I just duplicate this thing over here and hit right-click. Now if I try to move a single vertices, you can see clearly that we have doubled vertices. Now I will show you how we can just easily remove this, press a to select everything, and press M and select by distance. This will remove all the w vertices. You can see it shows it removed eight vertices. So now we don't have any overlapping vertices. What I will do now is select this piece again and just duplicate this. Scale it down like this. Here I think. Then press Tab for the edit mode. Select this edge, move this over here. This edge over here, and both of these H plus S then x scale them like this. Next, select both of these edges and move them over here. You can also hold control and snap them over here like this. Alright, so I think this is fine. Now I'll select both of them. The staff for the edit mode, press a to select everything, then plus e to extrude them like this. Also now press Control a, I'm not applying the scale. Next I will select this object press tab, and select these three edges like this. Then press control plus V, bevel them. And just give them a lot of segments so that it is smooth like this. And now apply this study. Now let's shade smooth both of them. And also enabled auto smooth. Alright, next I will add a bevel modifier to both of them. Reduce the bevel amount to a low number. We don't really want it too much just to let you will be fine. Enabled hardened normals. Alright, so I think this is fine. Let's move further. One again. Now let's create these designs. Press Shift a and let's add a single word. Please see it over here. Let's enable X-ray, please this over here. And let's start extruding. Now let's press E then X, and let's move it over here somewhere. Select this vertex plus e then z, and move straight up like this. G then z. And let's snap it to exactly to this vertex location. Let's just press F to join them both. What you can do is we can actually delete this vertex suppress x. And instead of deleting the vertices, just select dissolve vertices that it does not actually delete the edge also. Alright, so now it is done. So press Tab to select everything and press F to fill in the face. Next, as you can see in the reference image, it is like a curved surface over here. So let's create that now. Bring it back. Press Tab to go into edit mode, press seven for the top tube. What I will do is I will press Slash for the isolation mode. Press Tab again, let's select this edge only. Do four, select and just select this edge for seven for top view. And then plus e to extrude this. Just roughly extrude again and again and create a curved surface like this. Then it lasts. You can press E Then x and move it straight like this. I think something like this would be fine. Let's right-click and choose Move. This enabled auto smooth. Next, let's solidify modifier to this to give it a bit of thickness. You can set the mode to complex, maybe simple only because it does not really make a change. Let's enable even thickness and also add a bevel modifier. Let's reduce the thickness. Do something like this. I think. Also if you closely see over here, there are some shading issues going on. Suppose let's enable harder normals. And I think that solves all of them. But if, but if it does not for you, you can also enable vertex normals from here. If you have any leg further shading issues that will solve all of them. As you can see. Alright, Next again, let's press one press Slash to come out of the isolation mode, enable X-ray. And let's create these small heart like ships. Suppose tab for the knife tool, this vertices, and let's join it over here, then press Enter. Let's create one overhead also risky again. It right-click and then press enter. Now, let's select these faces. Then press X and delete the phases. This has somehow cause the bevel modifier to not work correctly. So what I will do is let's just disable clamp overlap from here and reduce the amount. Let's see, I think this is causing issues. Suppress one. Let's press X and dissolve the vertices. And yeah, I think that solves the issues. I didn't just want a variable amount is fine. Now let's save our files and this one, and let's add these cubes. Huge doors. So press shift D, and let's start the cube. Let's press G and place it over here. Scale this down according to the reference image is. So I think something like this would be fine. Move it up over here, scale it down on the y-axis. I take this much is fine. Next, again, let's mirror this piece. Started the mirror modifier to this, the mirror object as this one. And also select the set axis. Now I will select all of these objects, then press Shift D to duplicate them, and let's move them over here also. Let's move back. Next. I will just select this reference image press Slash to go into the isolation mode plus one. Now we will be creating this remaining piece. So press shift D and let's start a plane rotated by 90 degrees. And the first thing that I will do is I will add a mirror modifier to this, because as you can see, there are various designs. This particular bar. So we will be creating just the top part and we will let the mirror modifier take care of the rest. So let's add an edge loop just in the middle. Hit right-click to keep it in the middle, only. Select both of these vertices, press X and delete them. Now let's add the mirror modifier. The z-axis, maybe on why the y-axis. Now, we can easily scale this just according to the starting to the reference image. So let's scale it up. I think something like this is fine. Let's scale it on the x-axis. Now. Place it over here. Now we start to go into the Edit mode. But first let's apply the scale. So press Control, apply the scale. Now press tab and press K. And we will be using the knife tool to create these designs. And let's start. Alright, I'll press Enter. I will be smoothening out a few of the vertices. So let's select these vertices, press Control Shift and B to bevel this like this. Let's do a couple of them that look pretty sharp. Alright, so I think this is fine. Next, let's create this design over here. Best Kyrgyz. Start creating this. All right, so now hit right-click and press Enter to finish with this. Next, if we want, we can create this small heart designs. So let's do that quickly. Sketch again. Zoom in a bit, hit right-click and create this one also. Let's create these over here. Alright, so now press Enter again. Now what I will do is first let us move this reference image eligible F5 back. Select this, press a to select everything. Let us just extrude this backwards this way. That's come out of the X-ray mode. Now select all of these phases. Make sure to not select these hardship fishes Regards. We want to exclude them. Alright, Now press Shift D to duplicate this like this, then hit right-click to keep it at its original position only. Then press B and then separate the selection. Create something like this. Now what we can do is we can just select this and add the solidify modifier to this. Maybe. I think that would work fine. Let's press Control the first and apply the scale. You can see it is causing some issues over here. I think we can easily solve them just by decreasing the thickness a little bit. I think this seems to work fine. Also lead to complex. Also are the dividend modifier sheets mode. This ad enabled auto smooth from here, and also enabled normals. Let's add a bevel modifier to this too. I think we are good to go now search for slash. Select all of these pieces, move them over here. Let's bring it right over here. Place it in the middle of both of the doors. Like this would be fine. Alright, now let's place it in our main building. So I will just select this reference image, press M. You can see there are few more designs that we can create. This thing we will add later on. I will get this small design later on and add it over here also into some more parts of the building. If you want, you can create this design. I'm not really liking this. Maybe I will add it later on, but for now I think this is fine. Let's just press M and move it to the reference image section. What I will do is now select all of these pieces that we created. Just now. Select these walls, select this piece and select this piece. Then press Slash to go into the isolation mode. Now just select all of these pieces that we created just now. Now let's press S to scale this down. Let's place this over here. G then y and move them outlet. But I think this much is fine. Select this piece and I will just scale it up a little bit, it back. I think this looks fine. To come out to the isolation mode and check if everything works perfectly. I will just move these pieces a little bit inward. Increase the scale of these ones to fit in perfectly. I think this looks much better. So let's press Control S to save a blended files. And I think this much is enough for this video. We'll continue from here in the next 1. First, let me just bring this out a little bit. This phase two. Alright, so I think this is fine. Let's hit Save and thank you for watching. I'll see you in the next one. 13. Creating Some More Details: Hello, welcome to Chapter 12. So let's continue. In this chapter, we will be creating a few more things to further make our scene look good. Let's press Shift and add a new reference image. Let's just enable this from here so that we can preview the images. Open up this image. This is another corner design that I found in the reference images. Let's create this. Press Shift a and let's say the vertex. Press one for the word select. Let's place it over here. Like this. Now what I will do is I will just select this vertex present G, then z, hold control and snap it with this vertex over here on the same height. So now select both of them, press F to join them. We are done. Now. I will just select this reference image and just deleted directly because we really don't need it anymore. Especially let's select this press Tab to select everything and then press F to fill in the face. First, let's reset its origin. So go over to set origin and origin Geometric. Next what I will do is press Tab while everything is selected, Let's just extrude it backwards like this. Right-click and change the mood. This enable auto smooth sided bevel modifier, enabled hard normals. And next tab, select this complete phase. And let's try to insert. This is kind of going haywire because the vertices are too close to each other. Let's see. One of them is this. Let me just select this word, edge, press X and dissolve the edge. Just find a couple of more edges that are too close to each other. Causing these issues. Like this one. Just quickly dissolve them so that we can insert this face properly. Or just select the vertices, select the edge and press G2 times to move them farther away from each other like this. Let's try inserting. Now. We still need to. Let's just dissolve this one. Let's try now. It kind of works. Now. Let's try going for a little bit more. Here was one more edge that was too close. So let us resolve this one. Usually edges are really close to each other around all the corners. Just check all the corners over here also. Let us try now. Right? I think we are good to go now. So let's check one more time. Alright, so I think the smartest, fine. Just insert this inverts like this. Now to make the bevel modifier work correctly, let us just enable Clamp overlap from here, I'm disabled clamp overlap degrees the bevel amount. Let's see which of the edges are causing issues for establishing. Let's see over here. Select this edge plus G2 times over here. Alright, so now I think it is fine. Let's save a blender file for now. Let's select this now and where I will be placing this is over here with this thing. Let us select them both slash to go into the isolation. Let's move this piece over here. Rotate this by 90 degrees or minus 90 maybe. Then press three, or Control plus three, like this. Let's rotate it like this by 90 degrees. Scale this down over here. Let's scale it up around this much I think would be fine. Again, some of the things that really up to your preference, how you would like things you can take over from there and do whichever way you like. I think something like this would look good. So now let's just use the mirror modifier slash to come out of the isolation mode. Now let's select this and add a meter object. So select this eyedropper, and let's try selecting this. And it does not work properly. Let's try selecting something else. Maybe this. Alright, I think this works fine. Let's select on the x-axis also. Alright, let us save a Blender files and move forward. I will add a new reference image of this thing over here. This one. Let's add this and let's try creating something like this. Press shift D. Let's start a single word again. Let us just place this over here. Quickly extrude this. Normally I know the images kind of skewed and asymmetrical, but we will solve that issue later on pretty easily. Just quickly create this whole thing like this. The knowledge to select both of these vertices, press F to join them. Now press a to select everything and press F to fill in the face. Go over to object and set origin to geometry, establishing enable X-ray. First, let's press I to insert this. And let's insert it. Delay here. I think it is kind of difficult to see. So you can move from, you can move from this mode over here to this wireframe mode like this, so that it would be easier to see. Now. Now let's create the detail over here. We need to just created once the knife tool. And let's start from here. There's joined this over here. Right-click. Now press Enter. You can move back to the viewport shading and let's check if the phases work fine. Let's go back here into the wireframe mode. And next I will create this cutout plus k again. Start center again. Let's come back here. And now what I will do is press three for free. Select Disable the X-ray. Let's select this face, press X and delete the face. Let's hide the defense image for now. Select everything. So press a and now extrude this backwards like this. Next, select this complete phase, press I to insert this. Then extrude it backwards like this. Alright, now to create this on all four sides, we just need to, instead of using the mirror modifier, I will just do this pre-step, press a to select everything and go over to mesh and use the symmetries function like this. Now you see we have successfully made it over to the right side and now press a to select everything. And then we will use the symmetric function one more time. But this time change the direction from maybe we need to just try out a different dimensions. Sorry. Not this one. I think the zed one would work fine. Yeah. This one. You see now you have successfully mirrored it on all four sides. Let's add the bevel modifier. Disabled clamp overlap. We need we might need to fix some of the issues. Not I think it works pretty fine. Let's just shade smooth. This enabled hardened animals and also auto smooth. Next, press one again and just simply press Shift S and goes up is selected to bring the cursor over here. So that when we add a new object like a cylinder, it gets added right at the center. Now we'll basically just start a simple cylinder. Scale it down, right-click and shade smooth. This enabled order smooth. And also apply the scale. Stab 34 Face Select, select this top face, press I to insert this. Let's insert it here and then extrude it backwards. Let's insert this one more time and extrude this outwards. Create something like this. Go to Shading and let's enable hard normals. Yeah, I think this looks fine. Let's just select all of these phases. Hold all, select this complete loop. Now select all of these phases. Let's give it a bit more thickness. All right, so now let's select this. Press one for the front view. Scale this down. Really small. Please this over here. We can also move it right at the center of this object. We actually, let's move it right at the center of this object. So select this press Shift tests and goes up to selected. Next what we can do is let's just join both of them, select them both. Press Control G, next, brush Shift S and then selection to causal, and it is right at the center. Now, let's scale it up a little bit. Yeah, I think it looks good. Let's hit Save on a files. What you can do is you can maybe select this piece and duplicate it to a few more pieces of, you can maybe place it at a few more places like over these bars or maybe any way you like and also place them like this right at the door and add a modifier. Give it a little bit space modifier. This time. The z-axis. Duplicate it a few times like this. And I think this looks pretty good. Let's just duplicate it over to the right side also. It looks like a nice addition, but for now I will just delete both of them. Maybe you can add them if you like it, but I'm not really going to add it right now. So let's delete, save our files. And let's see. Alright, let's create some more stuff now. But before that I will just select all of these objects except the reference image over here and just drag and drop them into the collection, enabled back the reference image. And let's see. Actually we really don't need this anymore so you can directly just delete it. Alright, suppress one again. Let's select this Kazaa and place it over here somewhere. So just told your right-click, I mean hold Shift and then click, right-click to place it anywhere you like. So let's place or some variable here. And now we can add a new reference image, suppress shifting reference. You will see this one reference image. This one. Let's open it up. You can create any design you want. I will be going for the top one. Press shift D. Let's add a plane. It's rotated by 90 degrees. Enable X-ray and let's place it over here somewhere. Next, estab, press Control plus r to add edge loop. It right-click to segregate exactly the center. Press one, and let's delete these vertices. Now let's start the mirror modifier. Also, let's apply the scale. So press control a, apply the scale, estab now, and let's delete both of these vertices also. Now, replace all of them over here. Select this vertex and place it over here. Now again, we just need to extrude this. I understand guys. Creating this piece is going to be easy, but it can be time-consuming. If you don't want to, you can just skip this because it is like because it is like an additional piece only, like not very necessary to create this. And I'm pretty sure you grasp the concept of extruding things now. So you won't be missing anything, but I'm just adding it to give it to give a shrine a bit more detail. I will just keep on extruding. Now press E then X and let's join them. But first let's enable clipping and join them like this. Next, I will just select this vertex, duplicate it, Let's place it over here. Start extruding. We will be creating all these designs also. This will be kind of the time-consuming part. Just join them both now. So select them, press F, hold Alt and select this loop, press F to fill in the face. And let's press B and separate the selection to make it like a separate object. Select this press tab. There's a to select everything and press Shift plus D. And let's just rotate it by 90 degrees. I will just use this as all my petals so that I don't really have to create all of them over and over again. I don't know. It kind of looks trash. Just delete all of them. Quickly. Just select this vertex, duplicate it. Just start extruding. Don't, you don't have to be really precise about this. Let's just quickly this completely out. It won't take that long. All to select these loops and then press F to fill in the face. Let's create this last petal over here. Now press Tab to come out to the edit mode. Press Shift a and let's start a circle. Make sure to reduce the word cease to something like n. Maybe, let me call it a really small. Let's just place it over here. Rotated by 90 degrees. Scale this down. I think it got added behind the reference image. That's why we cannot see it. Select circle again, scale it down, place it like this. Press tab and press F to fill in the face. And now instead of adding a mirror modifier to place it over here, what I will do is first make sure you select the circle, then select these petals object, then press Control plus J to join them together. And you see the circle is added over here also. Alright. Now let us move further. Press Tab again. Select this vertex. Let's place it over here. Press Shift D to duplicate, and then place it over here. And let's start extruding. Make sure you are in the same object only so that we don't have to add mirror modifier again and again. Let's keep on extruding now. Hold Alt, and then click over here to select the complete loop. Press F, and then just keep on selecting the vertices, duplicating them and then extruding them. Now I won't really be communicating over this video because I will be doing the same thing over and over again. Just quickly finish this up. Maybe what you can do is you can fast forward from here because these are the things that we have already done. But I don't really want to add like half-life time lapses or something like that. That's why you can just fast forward it and cleared all the stuff on your own only. Now, I will just keep quiet. I'd read all of this stuff. Alright guys, so now we're finally done. So let's press Tab to come out of the edit mode. Alright, so I think our design is looking pretty good. So let's just select the reference image. Hide it for now. Okay, so now let's select this outer loop that we created in the beginning. Press one for the front view. First pre-step. Press F to fill in the face. Let's just move this a little bit backwards like this. Estab again, let's press E to extrude this backwards. Now let's select these pieces. Press Tab, press a to select everything. And now I will extrude them on the y-axis like this. Right-click and shade smooth and enabled auto smooth. This piece also. Next what I will do is if you press one, enable X-ray and just enabled it offends image also, you can see there is kind of a bubble or I will clear that now, let's just select this press Tab one, estab, There's three, and let's select this face. Now if you press I to insert this, you can see there are some of the vertices that are causing issues. So let's just solve this first, press Control plus z. So I think these are the vertices that are too close to each other. So we'll select this edge and this edge suppress, suppress do to go into the edge select mode, select this edge and this edge. Let's select these two also. Press X, dissolve the edges. Let's select this edge and move this over here. I think the insects should work fine. Now let's press three. Select this press I to insert. This yard is working fine. Press one for the front view enable X-ray. I make sure you press B to remove this boundary. And let's insert this deal here. Now what I will do is disabled X-ray. One for the vertices, select, select this vertex and let's move them farther away from each other. That they don't cause issues when we build them. Alright, let's select this complete face and extrude this backwards this way. Let's add a bevel modifier now to this. Lighthearted normals and alerts decrease the bioavailability. Adding something around this is fine. Alright, so let's select this piece, this one as one for the front view. Let's place this over here. Scale this down. Select this, this one slash for the isolation mode plus one. There's de-select this, move this in the front over here. I will select this and this one, press Shift plus D. Rotate it by 90. I think. Let's place this over here. Again. I will duplicate this and let's move this over here and rotate it by 180 degrees. I'm just trying to match it with the origins so that it is exactly in the center slash to come out of the isolation mode. Let's see. I think it looks pretty good. Let's see what Blender files. I think this much is enough for this video. It is a pretty long video already. I will see you in the next one. 14. Creating A Platform: Hello guys, welcome to Chapter 13. This video, I think is the last video in the modelling section of our shrine. Before we start, I just want to make a small change. If you see this piece over here, this one, it is like too much in the outward direction compared to all the other pieces. I just want to push it a little bit inwards. But right now if you just press Tab and go into the Edit mode and try to select this face. And tried to select these faces. We cannot really select them right now because if you remember, we use the mirror modifier to duplicate them on all four sides. If you want to edit them individually, we need to apply the middle modifier. So go over here, click on this arrow and hit Apply. Now that we have applied the middle modify, we can just press Tab. And now you can easily select these faces and push them inverts. But before that, let's just press Tab to come out of edit mode. Select this bottom piece because we need to push these phases inverts also, let us just apply this mirror modifier. Now select both of the objects press Tab. And now I will save all four of these phases. Just push them inverts like this, press G and then why? I think till here would be fine. All right, Let's hit Save and move further. I will just quickly show you what we will be creating in this video. I've already created this when I was off camera. So as you can see, this wooden structure to hold a shrine down. So we will be creating this in our video. But I think it will add a lot more detail to our trained model. So let's continue. I will just close this blender file. Let's start. First thing I will do is let's just select these walls, press Shift test and then closer to select it to bring the cursor over here. Let's press seven for top view. Press shift D, and let's start the cube. Let's move this cube over here. And what I will be doing is actually I've already noted down the measurements from my own blender file, and I will just put in those measurements in these dimensions so that easy and quick to work. For the x. Let's put in 0.3956.1 for the y, 0.11 for the Z. You see, we have created this wooden bar like thing. Let's place it somewhere over here. Let's move this down. Press one for the front view, and let's place it just to hear like this. Next, what I will do is I will add a, add a modifier to duplicate this. Let's increase the factor just a little bit, maybe 1.11.05, I think. Now I will just increase the count. So let's increase it to maybe 15, I think. Seven for the top two. And let us see. Move it like this. And just make sure that it is exactly at the center. So three bars over here, 1233 bars over here to the right and the left. I think it is right in the middle. Now I will just select this piece, press Control a, and let's first apply the scale. Next, I will add a bevel modifier. Let's decrease the amount enabled hardened normals and auto smooth. I think we need to decrease the distance on the x. So let's set it to maybe 1.01. I think something like this would be fine. Let's just check if it is exactly in the center. And 234 bars, 123. Let's move it a little bit to the right. I think this is much better. Let's press seven for a better view. There are 123123. I think it is roughly in the middle. Let's select this again, press G and Y, and let's move it forward. Let's increase the scale a little bit on the y-axis. All right, I think this is fine. Let's hit Save. Now I will add another queue. Let's select this press Shift test, because there to select it, press Shift plus a. And let's start a new cube. For the scale of this q in the x dimension. Let's put in 0.1125.9 in the y and 0.07 as the x. I will increase it a little bit on the y-axis. Move it over here. Next, what I will do is select this piece and I will just apply the area modifier. For now. I can just select, I can just select this object, go to object and set origin, then origin to geometric to place the origin right at the center. The reason I did this was this. The reason I did this was because now I can use this object as the middle object for many other pieces that I will be creating. So let's just select this middle modifier. Selected the middle object as this one, so that it is that it is emitted perfectly. Next, what I will do is I will just select this piece. The step to go into edit mode. Select everything and press Shift plus d. Let's move it over here. Rotate it by 90 degrees on the y-axis. I will duplicate and just one more time. Let's see. I will select this top piece. So you can just press L to select this, then press S, then x. Let's scale it a little bit on the x like this. Select both of the bottom pieces by pressing L Then again, and scale them down on the x-axis just a little bit. Let's select them, press Control a and apply the scale and add a bevel modifier. Again, we need to decrease the Bible amount by a lot. I think this much will be fine. Let's enable hard and normals and also enabled auto smooth. Let us see at the back, I will select this object, press Shift plus S and closer to select it to move the cursor right at the middle. Redshift Shift a, and let's start the Q. And I will move this Q over here, scale this down, and scale it on the X. Skewed right now is just like a placeholder thing. This is not the final object. I'm just adding it to see how everything will look together. We will later on give it more detail and stuff. Now I think just to see how everything is looking, let's just press control. Now. Let's just save a file. So hit Control plus S. Next what I will do is select this piece, press Shift plus S and closer to select it, Let's add a cylinder. Scale this down and move over to the corner. Over here. Let's scale it up. Mode this and enable auto smooth. Let's select this again and add a mirror modifier to this. It select the middle object as this one. Alright, let's scale it on the x and y plane. So to do that, press S then Shift plus z and scale it like this. Now I think this is fine. Let's select this, apply the scale and add a bevel modifier. Now select this piece, press seven for top view. Let's duplicate this, aggregated by 90 degrees. Scale this down. Let's see. Scale them up a little bit. Here. I think it would be fine. Next, let's just select the cylinder, press Shift plus D and move it over here like this. Let's hit save for now. Next what I will do is if you press one, press shift D, and let's start a new reference image. In the reference image folder. You will find this, but press shift D and let's add a new reference image, the difference image folder, and you will find this one. Just open it up. Let's clear this now. Shifting and let's add a cylinder. The cylinder over here. Scale it up. Non-varying. The bottom line is not matching up, does not matter. Just press Tab one for the vertices, select all these vertices, place them over here. Just extrude this. According to the reference image, again, I'm just extruding and scaling them inwards and outwards. Alright, let's just delete this reference image selected and press delete. Disable the X-ray alerts sheets mode. This enabled auto smooth. I will do is select these pillars and then select this slash for the isolation. They're scaled this down and place it over here. 74 top view. I think something like this. Glute, good, Let's just duplicate it. Overhead also. What we can do is instead of duplicating it manually, first, let's go over to Edit preferences. The add-on section search for copy. You will see a copy attributes menu just enabled this. What we can do now is select this object, then select this object, then press Control plus C. Then copy location. I need to select this object first, then this object, then press Control C and copy location. Just move it over here like this because it is exactly in the center. Now, I will just duplicate this. Let's place it over here for select this object, then select this one, and then press Control C and copy location. Now we need to just move it upwards. Alright, let's press Slash to come out of the edit mode. I will just select all four of them. And I want to reduce the scale of them just still a bit on the x and y plane. So press S then Shift plus z. Also, if you're wondering how I'm scaling them on individual origins, you first need to go over here and select individual origins. If you have like bounding box selected, you will see they will scale in a very weird way. But if you enable individual origin, they will scale exactly how we want. I think this is fine. Let's just select this. Move it a little bit over here. Writing the earlier scaled by. Writing the earliest scale was fine. Let's just control Z and everything. But we need to move this piece a little bit in the upwards direction. Let's just scale this down. Next, I will use the mirror modifier on them. Do copy them over here. Also. Select this piece. Add a modifier. Select the middle object as this one. This also at the mirror modifier. This as the middle object. Next, what I will do is I will add another cube. Let's scale this down. Scale it up. Let's hear it over here. Like this. Let's add a modifier, x to 0. Let's increase the y. Let's increase the count. Now. Think six will be fine. There's three, control plus three. And let's just place it like this. Roughly in the center. Select this again, add a bevel, apply the scale. Degrees it. Mirror modifier, and use the middle object as this one. It's enabled hard normals and also auto smooth seven for top view, let's duplicate this piece rotated by 90 degrees. Let's rotate it by minus 90 degrees. The count to maybe something like to do would be fine. All right, I think it looks fine now. Next I will add another cube. Open the transform, and let's set the dimensions to 0.147 for the x, the y. Let us check it to 5.9. For the x, 0.18. Let's place this bottle over here. Just scale it up a little bit on the y-axis. Let's add a modifier to this next. All right guys, Now let's just duplicate this piece. So selected press shift D, rotated by 90 degrees. Move it on the y-axis like this, and change the axis from X to Y for the mirror modifier. Let's press Control plus seven for the bottom view. Move this piece on the y-axis, on the x-axis like this. And we need to scale it down, scale it down on the x-axis. This way. I think this is fine. Let's just increase the scale of both of them are little bit increase the scale of this one, the y, and move this piece over here like this. All right, next let's create some stairs over here. First let's select this piece, redshift plus S, then goes there to select it. Let's start a new cube. List this cube over here. For the dimensions. Save them to the x, 32.162. The y, set it to 0.3 for the 2.177th 20 for the top view. And let's place the stairs here. Next, I will add array modifier. Set the x factored 0, and check the Y factor, negative of 0.65 and decreases to something like this. I think this is fine. So next I will just increase the count and let's set the count to something like seven maybe. First let's press Control a and apply the scale. Next I will add a bevel modifier, decrease the amount of Bible. I think this model is fine. Enabled hardened normals. Also auto smooth. Alright, select this piece again, press Tab, Control R to add edge loops, and I will add two edge loops. So you'll do a scroll wheel to increase the number of edge loops. Place them like this, and then press S, then x. Now you can see they're not scaling apart, so we just need to change the scaling method from individual origins two bounding box center. Now if you press S then x, you can easily scale them like this. Let's place them over here. Press three for Face, Select and select all of these phases. This one and this one also. Presby to separate it, then select selection to separate by selection so that all of these are the separate object. Now, select this and then press Slash to go into the isolation mode, estab Alt and select this complete loop. Firstly, express dU for the H. Select. Now hold Alt and select this complete loop and press F to fill in the face. Do the same thing over here, also, express slash. And let's fill this face. So hold Alt and select this complete loop and press F. Do the same to the right side also. The whole three. Hold Alt and select this complete phase loop, then select this face. Then press B and set big selection. Slash again. And let's fill this face. And similarly decided also. Hold art, select the complete loop, then press F. Let's increase the bevel amount of cubit. Also. Next, let's select this piece. What I will do is I will just select this piece and I will just delete it. Select this piece are the mirror modifier to this. It already meters perfectly because the origin point is over here. But you can also select this as the middle object and it will still work fine. Let's select this object now press Tab, press 34 fifth, select and select this face. Press I to insert this E to extrude this outwards like this. Alright, Next, let's select this piece, press Shift plus S. Then it goes up to select it. Let's start another cube. Scale this down to three for the right side view. Let's place it like this. For support. Side a minute modifier to this and select these tiers as the middle object. I will just select this piece, duplicate it, rotated on the x-axis by 90 degrees. There's three for the right side view, and let's place it like this. Now. X increase the scale on the x, so press S, then x will modify to both of them and also apply their skills. For this piece also, let's press Control a and then apply the scale and add a bevel modifier now, enabled auto smooth. Now let's just select this piece. I will just move it a little bit inverts and select this piece, increase its scale on the y-axis. Just a little bit. Now, we'll select this piece, press Shift plus D to duplicate it, because G to move it and then place it somewhere over here also. Next, select this piece for stab. It's enabled X-ray. And just select all four of these vertices and move these vertices over here. Alright, I think I still look fine now. Next, let's create some sidebars over here that will support the whole structure. I press one for the front view. Let's press Shift a and add the new defense image. Won't be the reference image folder and you will find this particular image. This one. Let's open this up. Press Shift plus S then closer to select it to move the cursor over here so that we can easily now press Shift a and add a cube. Let's scale this cube down according to the reference image. Let's scale it up on the x-axis. Let's scale it up on the z-axis. Enable X-ray. It does not matter if it is not matching up with the reference image. We just need the reference image to roughly follow it. We don't have to precisely match of the things that the defense image. Next I will just press Tab to go into the Edit mode. Press one for the front view. And let's create this shape now. So I'll press Escape. Let's trace this out. Santa. Disabled x-ray, select them both and press Slash to go into the Edit mode, select this reference image and move it back over here. Now what I will do is press three, and let's just select this face, press X, and delete all the vertices. Press a to select everything. Then let's just extrude this backwards. Here, I think would be fine. Next, let's press three hold Alt and select this complete loop. Holding all it is not working. So let's just select the phases manually. These Presby and then separate the selection. Next, I will just either solidify modifier. Also one more thing that I'm noticing, it is not quite symmetrical, so let's just summarize it. For stab, press a to select everything and go over to mesh, then symmetries. I think this is much better. Do the same for the top piece press Tab to select everything, then mesh and trace. All right, I think this is much better. Let's select both of these pieces now. Press tab for edit mode, enabled x-ray. Press one. And let's just move this word S0. Select this first. Alerts, move it like this. Alright. We have added a solidify modifier to give it a little bit of thickness. Next, enabled even thickness. Now let's let sit into complex. I think simple was fine. Let's just right-click and choose smooth. This enabled auto smooth. Alright, Next let's select this piece press Tab to go into edit mode, enable X-ray. Let's select both of these phases. Then to create a smooth, smooth surface like you see in the reference image, let us just press Control plus b to bevel this. You can increase or decrease the number of segments. I think something like this will be fine. Let's disable the X-ray mode inside the bevel modifier to this enabled harder normals. We can also add a weighted normal modifier to solve some of the shading issues. Let's start to solidify modifier to this one also. I think this is fine. Let's be at the bottom part now suppress one. Are the cube. Enable X-ray. Let's scale this down. To go into the Edit mode. Press one for the vertices, select, select all of these vertices. Let's move them over here. Scale them out a little bit risky to extrude. And then again, we need to just press E and then press S to scale these vertices outwards like this. Now let's just scale this inverts. It does not matter if it is not really matching with the reference image. You can kind of eyeball it. Right-click and choose mode. This enable auto smooth. Now I want to just move this piece exactly at the center of this piece. So I will just select this one. Then I will select this one. Then if you remember, we press Control plus C for the copy attributes menu and select Copy location. Now it is exactly at the center. So just select this piece and move it downwards like this. I will do now is I will select this piece per shift plus S, then cause it to select it. Press one for the front view. And let's start a cube. Scale this cube down like this, then press S and Shift plus z and scale it like this. I think something like this will be fine. Let's just delete the reference image selected. Press Delete. Let's press Slash to come out of the edit mode. One for the front view. Let's scale this down first. Select this piece, press S, then Shift plus z. I will scale it down a little bit. Let's select all four of them then press S, then Shift plus z. Scale them like this. I think this looks much better. Now I will just select this piece plus one for the front view press tab enabled x-ray. And let's just move over here. Select all four of them and place it like this. I'm just adjusting the scale and trying to see what looks good. I think something like this looks fine. I will just increase the scale of this attribute. Next, select this piece and let's just press S then Shift plus z, the scale it down like this. Press S to scale it up. I will also scale this piece a little bit. Press S, scale it up, move it downwards. You can just add a plane as a ground so that we can see if everything is on level. Just match it like this. I think we need to move it just a little bit more upwards. I think this one is fine. Now what I want to do is I want to mirror this piece onto all four sides. First, let's just delete this. Also, one thing that I'm seeing is you can see a very little shading issue over here. Just select this piece enabled x-ray press Tab. And I feel like it is being caused by these two vertices. There's just select both of them as they're very close to each other respects and dissolve the vertices. Now I think that shading issue is gone. There's just right-click Shade Smooth at the bevel modifier. Apply the scale. Apply the scale to all of them. Next, let's add a bevel modifier to both of these will apply the scale enabled hard normals. You can disable clamp overlap. I think this one is fine. Let's start the build to this one and also enabled or to Smoot harder normals. Now if you want to like middle these pieces onto all four sides, it will be much better if you join all of these pieces into a single piece. Let us do that. But to do that, I have to apply all the modifiers to these pieces because if I joined them just like that, only all the modifiers can merge into one another and cause some issues. For example, if I just select both of these pieces and join them, you can see the thickness of this piece changed a lot. I just press Control Z, you can see. So actually this piece acquired the solidify modifier of this one only that had the 0.01 thickness. That's why. The board got the same thickness. If I selected this object first, then this one, then press Control plus j, then this piece will get the 0.014 thickness. So what we can do is we can just select all of them, press F3 and select Convert to mesh. This is the shortcut to apply all the modifiers. Now as you can see, all the modifiers have disappeared from here. That means you cannot change them any further. Now, you can just select all of them. Then press Control plus g. You can see everything remains the same now. It is a single object only. Next what I will do is I will add immediate modified to this. Select the middle object as this piece at the y-axis. Next, what I wanted to do is I want to add, add a modifier. So as you can see that adding modifiers working kind of in a weird way. It is considering these four to be a single piece and then duplicating them like this. So if I increase the count, you can see how it is duplicating. But what I want to do is I want to duplicate this over here and here. So to do that, what we need to do is we need to move the add a modifier. First. What we need to do is set the X factor to 0 and change the Lie Factor. Next, what we need to do is we need to move the area modifier above the mirror modifier. And now we can adjust the distance and you can see it is working the way we wanted to. Actually, I don't want this much. I will just set the count to two. Now we can adjust the fact. I think something like this will be fine. Next, let's just select this piece, press Shift plus D, Then G and X and move it like this. But obviously we don't want these pillars in the middle. So I will just remove the area modifier. I think something like this is fine. All right, Let's hit Save. And next, let's create this piece over here. Okay, so for this, we need to open up your refs threat search for pure ref over here. Right-click and load our scene are recent and reference images. The reference image that we're looking for is this one. So let us just double-click on it and focus over it. I will increase the scale of my referendum. Double-click again. Alright, so I'm trying to create something like this or this back wall. So let's start. First. What I will do is press Tab Control R and add an edge loop right down the middle. It right-click to keep it at the center only. Enable X-ray. And let's just delete all of the right side would see suppress x and glued them. Let's start the middle modifier now. Alright, next, press three for Face. Select. Select this face. Press one. Maybe not, I will just move it like this. Press Shift plus S, then cause it to select it and add a new cube. Let's move this cube over here, scale this down. Select this piece, this piece, and this one. Then press Slash to go into the isolation mode. Express one. This q. Let's scale it up according to the wall. Next, let's press Tab again, select this face, move it inverts the x-axis. I think something till here will be fine. Let's scale it down on the Y. Also. Select this, Let's press Control a, apply the scale for this one, also apply the scale. And let's reset both of their origins to the study. For this one only just select this. Go to Object set origin and origin of the geometry. Now let's add a bevel modifier. This one also. Now next let's add a mirror modifier to this. Select the middle object has this piece. Next, establishing risk control art and add edge loops. Over here somewhere. I will select this face and also select this back face. Now press I to insert the face and make sure you press B to close the boundary so that we can insert like this. You can see the clear difference. Alright, let's insert it somewhere. Did here I think. Press X and delete the phases. Now what I will do is press one, hold Alt and select this complete loop. Then hold Shift and Alt. And select this complete loop, then press Control plus e bridge edge loops to bridge them like this. Next for establishing precise control are, let's say two loops over here. Move them a little bit in the front direction on the y, like this, and let's scale them down also. Press 34 fifth select, press Alt plus e, then extrude faces along normal. These are selected to extrude them like this. Alright, next I will add another cube. One. Let's scale this down. Over here, scale it up. Next, let's add a, add a modifier could duplicate this. Let's maybe 90. Increase the factor. Maybe let's say a 100 only decrease the factor to just fit all of them in like this. I think something like this looks fine. Next press Tab again, let's select this bottom face and make sure boundaries off like this. Let's insert this tool here. Again. I inserted delay here. One more time. Press Control R and Lazada edge loop over here. Now what we can do is we can hold Alt, select this complete loop e to extrude this outwards. Stab again, let's select this loop. So hold Alt, let's extrude this in words. This is like completely preference. This, you can do it however way you want. I think something like this looks fine. Next, what I will do is I will create this piece over here. Let's press one, the Shift a, and let's say the cube. Scale this down. Let's kill it up on the x-axis. I will also scale these pieces down. So press S then x. I think this much would be fine for them. And let's scale this piece up. Enable X-ray. Let's select all of these vertices and move them like this. This is much better. Let's select this piece, press Control a, apply the scale press tab for the Edit Mode. Control R. And let's add an edge loop in the middle. So hit right-click, enable X-ray. Select all of these vertices plus x, delete them. The mirror modifier. Move it over here. Let's see. First let's select this top face mood like this. Establishing enable X-ray. Let's select all of these vertices plates, move them till here. Next what I will do is press Tab. Do for the Edge Select, let's select this top edge. Let's move it till here. Like this. Next I will press Control R. Let's are the edge loop over here. Then let's select this edge moving downwards like this. To create something like this. Then hold Alt, select this complete loop. First, let's press Control a and apply the scale. Now pre-step hold Alt, select this complete loop, press Control plus b. Like this, are a bunch of segments. I think it is kind of the same shape. You can scale it down on the z axis. This Let's press Slash to come out of the edit mode. Let's see. I think it looks pretty good. Let's just move it a little bit forward. I'll scale it down a little bit more on the z axis. I think this is much better. Let's add a bevel modifier to this. Next one more thing that I would like to do is I will select this piece, press Shift plus d. Let's place it over here also. Let's remove both of the middle modifiers for now, select these two pieces and this one slash. Let's set the origin to geometry. Just for this piece to select this one, go to Object Set Origin, origin to geometric regulated by minus 90 degrees on the z-axis. One. Place it over here. Yeah, I think something like this looks pretty good. Let's first slash I, the mirror modifier. Once again. This time select the middle object as this piece and check if it mirrors properly. Working fine. Let's hit Save. I think we are almost done with the modeling part. Let's minimize pure ref for now, I won't be creating all of these pieces if you want, you can create them, but I think till here is fine. Click over here to minimize pure ref. The last thing that I will do in this video is as it is pretty long now, I will select this piece and also select this piece for slash. Go into the Edit mode. Let's press Control plus three to view it like this press Shift plus D and duplicate it then present. Alright, now what I will do is select this piece and remove the mirror modifier. Select this piece. Also. Remove them with a modifier. Let's select this piece and I will press 34 fifth, select this face, select this face with x and delete the vertices. To create something like this. Press one again, hold Alt, select this complete loop, this x, and delete the vertices. Alright? Press a to select everything, then press F to fill in the face. Control plus three for the side view enabled X-ray. Let's move it until here I think. Stab press Control, apply the scale, establishing a to select everything and then press I to insect this, to press B to turn off the boundary to insert them properly. Let's insert this deal here. Yeah, I think till here is fine. A to select everything. Then plus e to extrude this backwards. This big phase then plus e again to extrude it like this, which disabled clamp overlap and adjusted accordingly. Alright, so we have created like a version of it. So let's press Slash to come out of the edit mode. And I will place this piece over here. This piece. And these two that we just created, press Slash. Let's rotate it on the X by 90. Let's recreate it by minus 90 and on the z and also by 90 degrees. Press one for the front view. Let's place it over here. Scale this down. Let's place it like this. Next, let's add a middle modify to both of them. And select this as the middle object. Yeah, I think it adds a nice bit of detail. So let's press Control plus S to save our files. I think this much is it for this video we'll continue from here in the next one. Thank you guys for watching. I'll see you in the next one. 15. Creating the Ground: Hello guys, welcome to Chapter 14. So before I apply all the modifiers and begin with the UV unwrapping process. I do want to make a couple of changes and do a few more additions to our scene. In this video, we will be doing that. But first let's just select everything. I move it into our collection over here like this. All right, so next I will select this piece, press Shift plus S, then select closer to selected. Let me enable screencast keys. I just selected this object, press Shift plus S, then cursor to select it to bring the cursor over here. Next I will add a cube. So press Shift a and add a cube. Place this cube over here. Press N to bring this window, this toolbar go to Item. And let's set the dimensions for the x 24. Select this will be acting as a ground or something for our building. Set both X and Y 24. Let's set the Z to something like 0.1. Let's move it over here like this. Next, I'm going to create some boundaries over here. Press one for the front view. Let's press Shift plus a again. And are the cube. I will place the cube somewhere over here. Again. Let's set the dimensions for the x. I'm going to go with 0.35 divides 0.10.65 to create something like this, Let's press seven for the top view. Move this on the y-axis and place this just over here to act as the boundary. Alright, next what I will do is select this piece, press Shift plus S, then goes into selected to bring the cursor over here. So that now when I press Shift plus a and add cube, it will be harder to do here. Let's scale this down. For these cubes dimensions. Set this to 0.3820.103 to 0.09. Please this over here like this at the top. Next press Shift plus D, and just move it somewhere around here. Alright, so we are done with a boundary. We just now need to select all three of them, Risk Control plus J to join them. Let's press Control a and apply the scale. Move it somewhere over here. And now I will add a bevel modifier. Just the bevel modifier to a low amount, something like this. Enabled harder normals and also enabled auto smooth. Next I will. Next time we'll be adding array modifier. Let's adjust the distance. I think something like this will be fine. Now just increase the number of count. Let's see how much we want to add. I think something like this will be fine. Next, let's just duplicate this and move this piece over here. The back. This time increase the count even more. Again, let's just duplicate this plus, plus our zed rotated by 90 degrees. Or you can rotate it by minus 90 degrees like this. Seven for the top view. Let's move it over here like this. Let's see if everything is working fine. Now I will select this piece, then select this piece. Just a second. Let's move it inwards. Now let us say both of them press F3 and convert to mesh. Now they are a single piece. We have no modifiers now. So now what I can do is select this piece, the mirror modifier. Select the middle object as this piece number than perfectly. Next, select this one. Again, either mirror modifier and select this as the middle object. All right, Next what we can do is we can select these balls. Press Shift plus D, select them both, press Shift plus D and place them over here. Obviously we need to scale them up correctly. I think something like this is fine. Seven for the top view. And let's just move them a little bit. Inverts, scale them up. I think this looks fine. Select them both again, the shift plus D. And let's place this over here also. Again, select these two and let's move them at the back. So press Shift plus d, then list them over here. Move them a little bit more inwards. Press seven. I'm scaling this down on the y-axis like this. I think this looks fine. Let's press Control plus S to save our scene. Let's check these pillars once again, if they are looking fine from over here. I think this is let us just move further. I will select this piece, press Shift plus S, and closer to select it, Let's add a new cube. Now for the dimension, set the x value to 0.05794, the y circuit to 0.09634. The only I will press Control plus three for the right side view. Let's place this somewhere over here, I think. Move this inwards like this. Let's add a modifier to this. Select the mirror object as this piece. Answered the third axis. Let's just remove the x-axis for now. Next, I will add a bevel modifier. And first let's apply the scale. Adjust the amount. I think this is fine. We'll just move it a little bit inwards like this. On the y-axis. Just select this, duplicate this, and move it over here. Also, don't forget to enable harder than normal and auto smooth on both of them. Alright, so let's hit Save on a blend of files. And I think this much modelling is enough for our scene. In the next video, we will apply all the modifiers. First, we will give them all separate materials. And then we will start with the UV unwrapping process. So thanks for watching, I'll see you in the next video. 16. UV Unwrapping: Hello, welcome to Chapter 15. So in this video, we will start by assigning all the objects, different materials. After that, we will apply all the modifiers and then we will proceed with the UV unwrapping. We need to assign all the materials carefully because that will help us in splitting apart texturing process greatly. We will be creating four or five different material sets. One of them can be with all these ground pieces. Another one Can we would all the roof objects together. And this way we will be creating four or five different sets. So let's start. First. I will just select this big ground plane selected, go over to the Material tab and add a new material to this. And let's name this material ground lonely. Now what I want to do is I wanted to copy this material from this ground plane onto all of these objects. That they all have the same material. Because that is how we will create a single texture set or a material sec. Let's just select this ground plane. Then hold Shift, select all of these objects one-by-one. Now at last, what do you need to do is you need to hold Shift again and just click on this ground plane again so that it is the active object now, so that we can see this material over here. Make sure this ground plane is your active object. Now press Control plus l to link the materials. If you press control plus L, this pop-up will come and you just need to select link materials. Now as soon as you click it, you will see this drawn material has a ten written over here that meets that this material is being used by ten different objects. So now if we select this piece, you select this piece, all of them have the same brown material. Select that we have created a ground texture set that we will be using a substance winter protection. All of these pieces together. Before I add the next material, Let's just select this big plane again. This time I will press Shift plus L to open the Select Link menu. Then I will select material. But this will do is this will select all the objects that have the same material. As you can see. It has selected all of the objects with the ground material. You can do this with any of the objects selected. So for example, if I select this object, then press Shift plus L and select material. It will select all of these objects. Now what I will do is I will press H to hide all of these objects. The reason I'm hiding them is so that I do not select them accidentally while I'm adding the different materials. Now in the next set, I will be adding all these small design pieces that you can see. These ones, this one, this one into a single material set because I will be giving them the same material that would be a gold metal material. Let us just select this piece. Are the new. Let us name this material gold. Next, while this is selected, select this object. Let's just keep on selecting all of the objects that we plan to give on the golden material. Select these pieces, this one, this one, this one also. Let's also select this and this two. I will say this piece, this one, this one. Also select these two. These species also I will give the goal material only. Alright, so now to copy the goal material onto all of these objects. Let's just select this again to make this the active object so that we can see the golden material over here. Because we need to copy this golden material onto all of them. So we need to make this as the active object. Now press control plus L to open the link. Now press Control plus a two link the materials. Now just select link materials. Now you can see 22, whereas popped up over here. That means this material is being used by creating two objects. Now what we can do is we can just hide all of them because we know we have given them the golden material so that we don't accidentally select them again, let us just select this one, this one. These poles also. Now let's just go over here. Select this, select the gold material. Again, press control plus L while this is the active object and select link materials. Now you can see it has updated from 20 to 36. All right, Let's press H to hide these also. Okay, so now I want to add the gold material over here also only to these designs that you can see. So the thing is, as you can see with this particular pieces in this object, I want this part that you can see over here. I want this part to have a wooden material and this design part that you can see. To have the gold material. What do we need to do is we need to separate this design part from this bigger wooden part. So let us just do that now. So press Tab to go into edit mode, press three for Face Select. Let's select this face, this face, this face, this one, and this one. Then hold Alt, hold Shift, hold Shift and Alt and click over here to select this complete loop. Again, just keep on selecting all of these loops like this. All right, I think I've selected all of it. Now. Just press B plus B and separate the selection like this. Just press Tab to come over to the edit mode, select this. And then plus g. You can see we have created this as a separate object. Let's just select this object and give this the gold material. Similarly, I will do the same thing over here also. Plus three. Let's select this face, this face. Make sure to select the small faces also. Now hold Shift and Alt and select all of these loops. All right, I think we're good to go. So just press B again, 30 P and then separate the selection. Select this object, and let's add the gold material to this one also. Now what you can do is you can press alt plus H to bring back everything. Again, select this ground plane, press Shift plus L. Select material, then press H to hide it. Let's select any of these objects then press Shift plus L and select material to select all of the objects with the gold material, then plus h. Let's see if we want to add it to anymore object also. I will select these pieces also, and maybe I will select these two. Again, I will just add the gold material to this, then press control plus L, link the material. Then you can just press H to hide this. All right, next let's create a roof set. Say this, this, this one, this one. I think this much will be fine. Let's just create a new material. Click on New. Let's rename this to roof. Press control plus L, the link materials. Then you can just press H to hide it. I think only these objects would go in the roof material set. Next, what I will do is I will select this piece. New material. Let's name this material as building underscore bottom. Now let's select all of these pieces one by one. You can just drag your mouse and select them like this. Make sure to not select any of the building part. You can press G to move them altogether to see if everything is selected, then hit right-click to keep them at the same position only. Now let's just hold shift and select the stairs again. Then press control plus L and then link the materials. There's just straight up hide everything now. So plus H to hide this. And I think the only material that is remaining is this one. So let us just select any of the object. Hit New. Rename this to building underscore main. Now we can do is we can just directly press a to select everything, then press Control L, link the materials. Because now I think all of our objects have a particular material. Now you can press Alt H to bring everything back. Alright guys, so now that we have added all the materials, the next step is to apply all the modifiers before we actually apply the modifiers. But I will do is I will create a duplicate of this file because we need to apply all the modifiers to UAE and wrap the objects. So the reason we are creating a duplicate of this file is because after we apply all the modifiers, we really won't be able to make any changes like adjusting the bevel modifier or increasing or decreasing the thickness of the solidify modifier and things like that. So we need to keep one file with all the modifiers intact so that we can come back to that particular file if we want to make a change later on. To create a duplicate file, I will just press Control Shift and S to save as. Let's just save this file as shrine and I will type in brackets as applied. This means that this file has the modifier supply. So let's just hit Save As now to actually apply all the modifiers, one thing that we can do is we can select each and every object, then go into the Modifier Tab and you can click on this arrow over here, then hit Apply. And one-by-one do this to each and every single object, but that would be pretty long and tedious. First, let me just select all of these objects, put them in the collection, then just press a to select everything. Then hit F3 and search for Convert to mesh command and hit Enter. This will automatically apply all your modifiers. You can just check. Select any of the objects and you won't see any modifiers over here. Now all the modifiers applied, Let's just select this piece. And this piece. These are the leftover pieces from the Boolean modifier, so we really don't need them anymore. So let's just hit Delete. Alright, so we have a plural noun modifiers. Let's just hit Control plus S to save our files, I move over to the UV Editing Tab. Now the way that we will be UV unwrapping all these objectives, we will be doing them according to their material sets. Only like all the pieces that are together in this ground material will be, will be UV unwrapped together. So let's do that. First, press a to select everything, then press Control plus a to apply the scale. And let's just apply the scale. It is really important to apply your skills before UV unwrapping, because if you don't, it can mess up our UV unwrap. Alright, so now I will select this big plane, hit Shift plus L. Then select material to select all the linked materials. You can see here. Then press Tab to go into the Edit mode. But you can do is you can enable this command over here. This will do is any of the phases that we select over here. The same phases will be selected over here also. As you see, if you select something from here, it will be selected over here also. So let us just press a to select everything so that everything is selected. Also go over here and enabled display stretch. This will display the stretching in your UV unwrapped. If there is a lot of stretching going on or in your UV unwrap, you will not see this blue color. You will see like colors like yellow, green, or red. The color that we are aiming for is this dark blue color only. So make sure your UV unwrap has this dark blue color only and not like red, green, or yellow maybe that just means you have done something wrong while UV unwrapping. Let's just move further. I will press U for the shortcut and hit Smart TV project. Then just hit Okay. Uv unwrap something like this. So you can open this up and increase the island margin. Do something like 0.03, I think. Let's just type in 0.00335. I think. Something like this I think would be good. Let's press Tab to come out to the edit mode. And now that we have a UV, unwrap this ground texture set, let's just press H to hide it while everything is selected. Mixed, I will say this piece then press Shift plus L, then silicic material to select all of the linked materials like this. Then just press Tab to go into the Edit mode. Press a to select everything. Again, hit you smart TV project. And hit Okay. Let's see. Let's try to adjust the island margin. For this. 1.0010 will be fine. Yeah, I think this will be fine. So let us just press Tab to come out to the edit mode, best H to hide them. Next, let's select this press Shift plus l, Then link material, then press Tab to go into the Edit mode. Press a to select everything. Hit you. And smart UV project is taking a little bit longer. Now it is done. I think for this one also 0.001 will be fine. So let's press tab and press H to hide these. Next, let's select this roof redshift plus L. Select the linked materials press Tab. Then pursue and smart UV project. This one I think zero-point on nothing would be fine. Establishing, let's press and let's select this last piece, press Shift plus L. Then select the link material, estab a to select everything. And you and smart you will project. I think for this 101002 would be fine. Alright, let's press Tab and I think everything is UV unwrap now, suppress old plus h. Alright, so let's hit Save. And I think this much is enough for this video. In the next video, we will be exporting everything into substance painter. And we will create a new project and bake the mesh maps. So thank you for watching. I'll see you in the next one. 17. Exporting and Baking Mesh Maps: Welcome to Chapter 16. So in this video, we will be exporting our complete moderate into Substance Painter to start with the texturing process. So let us just first open up Substance Painter. Alright, so now back in Blender, Let's start with the exporting process. So there are a few issues that you might face while exporting. I will be covering all of those. But first let's just first directly export it and see how everything goes. So to export your model, you just press a to select everything. Go over to the File Export. And then FBX I will be exporting it as an FBX file. You don't have to do anything just to make sure you enable this from here selected objects and active collection. Then in your case, everything would be selected over here. Just select mesh because you only want to export the mesh object types and not any other. Just click on Mesh and make sure both of these are enabled. Let's keep the name to this only and let's just hit Export. Export. And now I think it's done. Open up substance painter again. Go over to File, create a new project. In the file section, select and select your file, you just export it over here. Make sure this normal map format is OpenGL. Anyways, we can always change it later on, but make sure it is OpenGL and the resolution that we can change it later on. So let's just keep it here only. Or I will increase it to 2040. Now let's just hit Okay. And as soon as you export it, Let's just zoom in it. So hold Alt and use your left mouse button to move and user right to zoom in or zoom out. You can use the middle mouse button to pan. Right away when you zoom in, there are a few issues that I see. One of them is I cannot really properly see some of the objects like this one. That this object is like, perfectly opaque. But this, as you can see, I can see through these objects. Many of these pieces have the same problem like this one. You see, we can see through it and it is looking like very weird some of the objects over here also. Let's fix this issue first, and this is pretty easy to fix. Let's go back to Blender now. If you go over here and just enabled face orientation, after you have enabled this, you can visualize the face orientation and you can see all the objects with the red color. If you move back to Substance Painter, these are the same objects that cannot be viewed properly. Like this one. You can see this has red color over here. These pieces. All of these pieces we cannot see properly because they have the drum face orientation or wrong normals. We just need to flip their normal so that we can see them properly in substance painter. To do that, it is pretty easy. Let's just select this object. Press Tab to go into the Edit mode. Press a to select everything. Then press Shift plus n, and you can see it turned to blue. Now we have flip the normals. But as you can see, if you just disabled phase are you in addition from here, this has now created another problem. And you can see the edges over here are looking very weird and they have kind of weird shading going on. So if you face this issue, again, there is a very easy fix for this. Go to the Modify tab and add a normal. Any of the shading issues, most of them can be solved by the weighted normal modifier. If I just disabled this weighted normal modifier, you can see the edges have the shading issue as soon as the enabled it disappears and everything looks normal. Just go over here, click on this arrow and hit Apply. Now we have fixed this object. Let's enable back face orientation and quickly do it for all the objects. So let's just select them estab to go into edit mode, press a and press Shift plus n. Again, we have to add the weekend normal modifier. Both of them. Select this press tab was a shift plus n. For these two. What we can do is we can just quickly press Shift N to recalculate the normals. And later on we can add the weighted normals to all the objects simultaneously. Just select these objects. Estab, press a to select everything and then press Shift N. This press a to select everything and shift plus n. Alright, now all of the objects have characteristic orientation. We can just disable this mode from here. Now we need to copy the BUT normal modifier to all the objects. So what I will do is let's just select this piece. You can see this has some issues going on. Let's add the break-it nominal modifier, press a to select everything. Then press Control plus C for copy attributes menu, go over here and select Copy Selected modifiers, select wicked normals and hit Okay. Now immediately all of the objects have the will to normal modifier. Adding were two normals to some of them can cause a little bit issues like this one just needed to enable to keep sharp from here. This two, we just need to do a little bit of troubleshooting, I guess to solve these issues is quickly check for all of the objects if all of them are looking fine and none of them have like we're shooting issues. Also, if you zoom in over the small designs that we created, they also have this issue. So let's just enabled keep sharp. This one also. This piece also has some issues. So quickly enabled keep sharp. You just need to pay attention to all your pieces. If any of these are having if any of them are having any issues and just enabled to keep sharp to avoid all of them. I think most of it is fine now. This piece also keep sharp. Alright, so I think we are good to go now. So let's just hit Control plus S to save our files. Then press a to select everything. And now we need to apply all the way to normal modifiers. Let's just press F3, search for Convert to mesh, and hit Enter. Now all the weekend nominal modifiers have been applied. One more time. If you just enabled face orientation, you will see this piece over here. The reason we can see this red color over here is because this piece is hollow. So we can quickly fix this issue. So let's just select this box, the slash for the isolation mode, then press Tab to go into the Edit mode. Let's just disabled face orientation because if this kind of hard to work with, press and hold Alt, select this complete loops. So hold Shift again, Shift and Alt, and keep on selecting this complete loop. Then press E and extrude this Invert I'm in downwards like this. Then just press F to fill in the face. If you enabled back face orientation, you can see we have fixed this. Again because the extruded this and we created extra geometric. We need to go back to the UV Editing tab and UV unwrap this mud, this particular material set only once again, let us just select this box only, press Shift plus L. Then select material to select all the materials. Start to go into the Edit mode, press a to select everything, and press U and smart UV project. Let's set this to 0.002. I think that was better. Now I think we're good to go. So let's just press Slash to come out of the isolation mode, press a to select everything. Then go over to File Export and FBX. Let's just replace this file only selected. Make sure these three options are selected from here. And then hit Export. Export, open UP Substance Painter again, go to new, create a new project. Let's select this file again and hit OK. Now if you will zoom in over here, you can see everything is perfectly fine. Just quickly go over everything if you see any issues. But I doubt we will see any. I think we are good to go now. Alright, so the first thing I generally do is go over here to the Display Settings, scroll down and enabled temporal anti-aliasing. This will remove all the jagged edges that you can see over here. Like this. You see what I mean? It is like a lot smoother now. And then first thing that we must do when we create a new substance project is that we need to bake the mesh maps because we will be using the features of Substance Painter like smart masks and smart materials that you will understand later on if you don't know about them. For them to work properly, we need to bake the mesh maps. So go over to your texture set settings. If you don't see this window over here, you can go to Window toolbars. I think you will see it unknowing views over here, texture sets, settings. You can just enable this if it is disabled. Alright, so if you just scroll down in the texture set settings, you will see HashMaps. You can just hit big mesh maps. Just change the output size from 52. And I will be going with 2048. If you have a weaker computer with low specs, you can go with 10 to four. But if you have a mid median computer or a high-end, you can go for 20 for it. Let's just disabled ID maps because we won't be using them. Enabled, apply diffusion and also enable use low poly mesh has hyperlink mesh. Also you can enable anti-aliasing. I will say two to four X4 oldie. And I think they stopped the default commands. A pretty good. We don't need to change anything much. Now you can just hit bake selected textures. It is going to take quite a while to bake all of their textures. So I will just cut the video and resume when everything is done. Alright, so now the biggest done, you can just hit, Okay? So as soon as you finish with the baking process, just quickly check your complete model. But any of the potential issues. But I think I came out pretty particularly and everything looks fine. Here. There is a little bit of issue, but I don't think that would cause any problem because it won't be even visible when we add the materials. I think rest everything is fine. Also, if you see over here in the texture set list, these are all the materials that we created in Blender. This will help us in texturing now because you can just easily disable all of them and easily work with the roof material set only or roof texture set. You can disable this and enable the ground. But the goal you see, it makes it very easier to work with. First, let's just save our project. So hit Control Plus. I will save it in my tutorial folder. Only. Save it as Japanese shrine. It save. Wait for it to save. It can take quite awhile or yeah, it is done. Now. We will continue from here in the next chapter with the texturing process. So I'll see you there. Thank you for watching. 18. Texturing in Substance Painter: Hello, welcome to Chapter 17. So let's start with the texturing process now. The first material that we will be creating is we will be creating the wood material for admin building and for most of the parts we will be using that wood material only. So first we need to download the textures for that particular material. So go over to Google and search for ambient. Cgi is a free website and it is pretty good, great website for different textures, assets and everything. From here you can go over to materials and search for word over here. If you scroll down, you will find this particular material. Its name is words 063. So anyways, you can use any of the material that you like, but I will be going for this one. And if you want to have a desert like mine, you should also go for this material only. Let us just select it. And I will download it in for K. So we'll click over here. Wait for the download to finish. I will just cut the video and resume when the download is finished. Alright guys, so now the download is done. I will hand over to my Downloads folder. I will just copy it as a file and pasted over in my tutorial directory. Create a new folder, and let's name our textures. I will paste it over here and just right-click and extract it. Alright, so you can now open it up and you will find all these textures. So the texture maps that we will be using are this color map, the normal GLP-1, and the roughness map. These three would be enough for us. So let's just select them and drag them and drop them over here in our shelf on Substance Painter. Again, drag it like this to select all three of them. Or you can just press control a click over here, import them as texture. Next, we need to select where we want to import our resources. If you just select current session, that means if you close your substance painter and open it up again, you won't find these textures in your shelf. If you select this particular project, you will find only these textures in this particular project totally, and you won't find them in future projects that you are using. And if you import them to your library, they will always stay in your shell fully and you can use them for any project you like. I will just select this particular project only and hit Import. Now all three of them are here. What do we need to do now is we need to select the texture with this building mean. So there are two ways to do this. One, you can just click over here. And now we're working in the building underscore main texture set. Another thing that you can do is you can hold Control plus Alt and then use your right-click. Change extra sets like this. You can see over here as soon as I'm clicking on any of the object, the texture set is changing. So let's just click over here on this wall. And now the building underscore main texture set is selected. That I will do is I will delete this layer first that is already added, select it and delete it. Next I will add a new fill layer. So this is the icon for a filter. You can add it. What we will be doing is we will drag and drop this color map onto the base color like this. You can see it is a building over here. Next, drag and drop this nominal map here, and a class drag and drop this roughness over here. Currently it looks very, very horrible. But don't worry, we will connect everything up, so change the projection from UV planar. Next, I will increase the scale of the texture map because it is currently too large. So just to increase it, to make it smaller and already it will look better. So let's set it to ten. Next, what I will do is right now the normal information is looking too much. You can go over here from base color, select Normal, and reduce this normal intensity like this. You can see over here. So we'll just set it to 54. Now, let's come back to base color. This is the Opacity channel. If you reduce the base color, you see we're losing all the color. If you reduce the normal map, we will lose all the normal information. Let us take 250 and rest everything at a 100 only. Next thing what we are going to do is we will add a filter to this particular failure to adjust the colors even more. So while this layer is selected, go over here and select Add freedom. Click over here and search for HSL perceptive. And added. What you can do with this filter is you can adjust the colors of your fill layer like this. You see I'm changing the hue of my Phillip. Actually, I don't want to do all of this. I just want to decrease the lightness a little bit. So I will take it to 0.47. Just retype it. Next, what I will do is I will create a new folder. Let's create a new folder and name. It would just drag and drop this fillet into this folder that everything is a little bit more organized. Open up the root folder, double-click over here on fill layer one, and let's change the name to base material. This will be our base material and we will be adding more layers over it to make it more realistic. So the next layer that we're going to add is a dust layer to add a bit more realism to our base material. So to do that, we will be making use of black masks. If you have already used substance painter or Photoshop, you already know what masks are. But if not, I will explain it to you by demonstrating. Let's just add a new fill layer. I will give this fillet or darker color for our dust circuit to something like 0.2. To close this up and you can see our complete texture state is now black. So obviously we don't want that. We wanted to spread it like dust. I will go over here and add a black mask. Now it has completely disappeared. So next we will add a fill layer and click over here and search for grungy map 11. I've already searched further. Search again, I will be using Grunge map number 11. A gradient map is basically a texture like this. You can see how our dust layer is completely spread over the whole model according to this grungy map, only if you change it setting you can see we can increase or decrease the balance in contrast according to our needs. But if you want to know about mass, this icon that you see over here, this is a black mask. A mask is essentially a black and white image which decides where to show your failure and we're not too sure you're familiar on the object. So black means in those particular area, the familiar won't be visible, and white means that it will be visible. So let me just explain it to you by increasing the contrast too full. And let's just decrease the balance like this. If you go over here, click over here, you can visualize your mask by selecting mask. And you'll see all the portions that are white. If you just go back to material, all the portions that are white in the mask, your dust is visible over there. And all the portions that are black, the dust is not visible. If you like, change the balance, you can see the white portions and increasing. That means the dust is increasing like this. I hope it was clear. This is like basically the simple definition of mask. We will be using a lot in texturing and it is quite useful. Make sure you understand that properly. Now let's just give it a little bit good settings so that it looks good. I will set the balance to something like 0.35, I think. For the contrast, I will decrease the contrast to one. Next state, the projection from UV to try playing a prediction. And let's increase the scale. Something like either maybe, maybe we can try six. You'll see. Now we have added dust, but I wanted to be like very subtle. It is too harsh right now. So I will go over here in the Opacity section, and I will set the opacity of this to 40. That it is barely visible, but it is still there. You can just check by enabling and disabling. It adds a certain bit of realism. So that's what we need. Let's rename this to dust. Also one more thing that I wanted to show you guys. You can also get your mask. For example, let's just increase the opacity to 100. Just for now, click over here and let's add a paint layer to this. If you remember, I told you that white means the filler would be visible and black means that it will be invisible. If you just click over here on your brush and you can check the color over here. The color right now is completely right. Now if I try to paint over my model, you can see I'm painting dust because I'm painting with white color. White means, as I told you, the full length will be visible. So as I'm painting with white over my moderate, the dust lead is appearing from beneath. If I switch back to black, you can just change the color from here to black. And now if I try to paint, you can see I'm erasing the dust. So as I told you, black means invisible and white means visible. Also, you can switch between these colors by pressing X like this. This is useful like if you have added some dust using your grungy maps. But you are feeling like that. You don't want a particular dust like in this area, you are not liking it so you can directly use your paint and just remove it like this. But obviously it looks very weird just right in the center. What you can do is you can use brushes. If you go over here, just remove this and search in the brushes section. You can find these dots brushes, select them. And you can easily, it is the dust in a very organic way like this. You see I'm erasing this, but it is not looking like very weird. Also, if you just press X to switch the colors, as I told you, press X to switch the color like this. Now you will be printing dust. This dust brush only. I mean dot brush. These are some tips that you can use to make your model even more realistic. You can change. You can change and try different types of brushes to add a lot more realism to your model. This is what I was trying to explain for now. I will just remove the paint layer because I don't want to add any extra details, will remove anything. Just I will delete this. I will set back the opacity to 40. Right? Next, I will just duplicate this layer. So press control C and control V. And I will be creating another type of dust. But this time let's just remove the mask and add a new black mask. So go over here and a black mask for now. And let's set the opacity to full. And this time, instead of using like grunge map or a texture, we will use a smart mask that is a feature of substance painter. You can go over here. Over here, you will find these multiple smart marks. These are pretty good. You can just try drag-and-drop them like this from over here onto here. This is not a pretty good one. Let's just try this one. And you see it has added like a different type of dust to your margin. You can try from these multiple ones and find which one you like better. Let's try this one. So you see this one is four edges. If you want to mask edges, we will be using this later on, but not now. The one I'm trying to use this this one dust occlusion. You can just search for it by typing OCC. And this one I'm trying to use just drag and drop it over here. You see it acts like a dust to all the gardeners and crevices. So you'd adds a lot of realism to your model. You can see that ugly. But again, this dust is very hard, so let's reduce the opacity to maybe something like 75. Click over here to adjust the properties. And I will set the dirt level to 0.45. Setting the contrast 2.5 degrees, the granular mode, this will increase or decrease their dirtiness. So I want to decrease it. Sodium. Angelo, I will set it to 0.3. And lastly, you can increase the edge masking so that your edges appear a little bit cleaner. I will set it to 0.5. Yeah, I think this is looking really good. So first, let's save our scene for now. Now that we have added these two layers of dust. You can see for yourself by disabling them, just enabling them back again to see how much of a defense only adding these two layers has created in our world right now it looks like ready flag, but as soon as we add these two layers, it gives a lot more realism to our wood and it looks much, much better. Also, one more thing that I wanted to mention it by clicking over here on this mask. This mass is late for this particular failure only, and this is a separate mask for this layer. If you want to get the mask of a particular field here, you can just click over here and then click over here and then adjust the settings. If you want to change the properties or values of the filter itself, then you need to click over here. And then you can change things like the color of the dust as you can see, if you can give it some observed colors like red or white. Obviously we won't be doing that. Let's just undo this. You can also change the roughness sort of message like how reflective or how non-reflective your dusted if I just set it to 0. You can see over here on these corners how it is reflecting light. But as soon as I increase it, it no more reflexive, say are these really subtle? But obviously we don't want us to be reflective. So I think 0.3 or maybe increasing it a little bit would be fine. Something like 0.45. You can also give it hide information like this. If you want, you can add it in a very small amount because as soon as you increase it, it will look like very overkill. Your model will look very weird. So I will just keep it at 0 only. But if you want, you can add a little bit of height information in very, very low amounts of value. Alright, so the next thing that we are going to do is we're going to add a little bit more details on our edges. So I will add a new fill layer. Let's rename this two edges. I will change the color to something like yellowish. 0.079. Obviously, you can go for any color you want, but I have actually tried in districts some colors. I will be going for that only. For the last value, just set it to 0.731. Something like this. Next what I will do is again, I will be adding a black mask. But this time instead of using a fill layer or using a smart mask, I will be using a generator. It is basically the same thing as a masculine, but to add it, you need to go over here and then select Add generator. Then you can select the word yet and choose from the different generators. The one we will be going for, this Metal Edge VM. This immediately you can see it adds are familiar that we just created all over our edges. You can click over here and even change the color like this. But the earlier color was fine. Next, what I will be doing is I will take over here and then click over here to adjust the properties. And I will just change one property, I will decrease the weird level. This is the main property to control the metallic VA. I will say 2.48, like this. Also, what I will be doing is I will move this Metal Edge. We're below the dust so that the dust shows on top of it like this. I think this looks much better. You can see. You can see for yourself just by enabling and disabling it, that it adds a lot mode of realism. Next thing what I will do is right now the normal information is still too much for me. Instead of decreasing it from here, I will just close the folder from basically go to normal. From here I will set it to 30. Yeah, this looks much, much better. Also, you can go over here in the texture set settings. Right now the texture is kind of low quality, but it is easier to work to check how things would look in for K. You can click over here and go to fork. And you can see everything is now pretty sharp. It is looking good. While working in Unreal, we will be using full high-quality architecture. Certainly that violence substitute sprinter. It is a good practice to work at lower resolution so that your work as fast, so you can set it to maybe 1024 also. Now everything is really blurry. Material will be fast and responsive, but I will stay with two Kimberly. Next, what we can do is I think for now this is enough for our wouldn't material, so I will just copy it from here. You can just press control C to copy it. Let's change our texture set to building bottom. Let's delete this layer and we're just going to copy and paste it. So press control plus V. You're going to see already we are halfway there with the texturing process and it is looking pretty good. Next, let's copy this again. I move over to this texture, set the ground one, so hold Control and Alt and use a right-click to come over here. Now you can paste it again. Now I will show you one more thing. Obviously, we don't want the material to show over here on the ground or even on these bolts. What I will be doing is there are two ways to remove this axial or material from over here on the ground and these faults. One of the way would be to add again a black mask like this. But now what we need to do is we need to select this tool one-by-one, select each and every object and fill it with white color. So as I told you why it means visible. So it will be visible over there. We are currently paid painting with white color only. Need 21 by one, like select and select each and every object on which we want the wood material to appear. Make sure you don't select any object that you don't want the wood material to appear on. You can maybe select this one or this one accidentally. This is one way to do it. Obviously this is much longer than very tedious. So what I will be doing is I will just remove this mask. If I click and remove mask, and instead of using a black mask, I will be using a geometric mask. Let me just quickly show you what it is. You can click over here. Just right-click and hit exclude all. This is basically same as a black mask, but it works only on geometric, easier to work with. Now, it is currently on 0 objects. That means the wood material is not used by any of the objects. If you click over here, now you can select the objects that you want the wood material to appear on. So I will just select this piece, this piece, this piece, this one, back one. And this one. You'll see how easy it was. Just click over here again to come back to the axial mode. And it was pretty quick. We don't have to select each and every single object. That was the case with this tool. So instead of using black mass, we directly use the geometric mask. Make sure you make use of this feature because it is pretty handy. All right, Next what we're going to do is we're going to work with a golden material. So let's head over to the gold texture. For this one, I will directly use a smart material. You can go over here and search for gold. This gold damaged smart material would come up. You can just drag and drop it over here. Let us remove this layer one. You see the gold material is automatically added. But obviously, right away it does not look very good because it is like really dark. So what I will be doing is I will just open this up. Select the dirt because the dirt is the one that is causing this darkness. You can see if I just disabled it, the gold instantly becomes a lot brighter. Instead of completely disabling it, what I will do is I will click over here and click over here to adjust the black mask. Let's reduce the global balance to something like, yeah, I think this looks much better. Another thing that I want to do is just zoom in over here, there is a weird green. Your height information over here, you can just disable some layers and check which of the layers are causing it. I think one of them is this one. So you can just disable it. And yeah, I think now it looks better. Next, I also want to apply this gold material over here. So let's just go close this folder, select this, copy this up, and move over to the ground texture sec. Again, paste it. Again. It is all over architecture set, but obviously we don't want that. Let's click over here again and hit Exclude all. Then select this one, this one, and this one at the back. Alright. Next thing that I want to do is if you will zoom in over here on this piece, I want this piece to have a black background. So let's do that now. I will add a new field here. I did not in this texture sec, hold Control and Alt and right-click over here. To come into the gold texture set, I will add a new fill layer. On top of this, you can see the whole of gold texture sec becomes white because we have added the fill layer on top of this. If we will move downwards, the goal damaged material starts to show, but I will just move it at the top because we are going to use a black mask anyways. So first, let's change the color to black. Make sure you're selected this layer. Click over here under the base color and change the color to black. I think something like this would be fine. Now what I want to do is I want to have this black color. Just add the background of this design that we created over here. You might think one way to do this would be using geometric mask. You can just right-click, exclude everything, and then you can just select this. But now the problem that arises with this is I just wanted to have this black color overhead only. That means I want to have the gold material over here on the boundaries. And I just wanted to have this black fill it just at the background phase. Obviously this cemetery mask won't work, so you can just right-click and include all. The only way to do this would be by adding a black mask. So go over here and a black mask and automatically you will switch to this tool from over here to over here. So again, this tool is pretty handy. There are multiple modes to this, so let me show you one by 11 of the first mode is triangle filled? Triangle fill is basically it will divide your face into two halves and fill it accordingly. Let me just show you. You can see it frozen lake triangles, spaces like this one-by-one. It is not really helpful and I don't really use this mode, so I can just undo everything. Next is the polygon field. This field is one phase at a time like this. And this is the one that we will be using like this. But let me show you all four of them. The third one is basically similar to a geometric mask only it feels one complete mesh at a time like this. The last one is a little different. It is based on light UV islands. You read chunk field. If you just select this and press F2 or F1, you can see all these light UV chunks. You can select one chunk at a time like this. You can click over here and you see it feels like when you reach them credit time. So it can be pretty handy sometimes, but most of the times I use these two, only. One of them is this phase field or the polygon field, and the other one is the mesh field. You can press F1 and F2 to switch between these two modes. I will stay in the 3D mode only. Alright, so now that everything is out of the way, select this mode, the second one, the polygon field, and select this face and this face. You'll see this is exactly what I needed. I just want this black fill layer to appear over here and not anywhere else. So I can just zoom out and select this face also then this phase. Similarly over here also I will select this face and this face. Lastly, on these two pieces also, let's select this face. And this one. You can see this black color adds a lot more detail. If I just disabled. The whole object is now a single material with the gold material only. And it looks kind of weird and does not look that interesting. But just adding a little bit of black color variation, it looks like much, much better. These are like little things that you can add to our model uniquely to make even better than mine. Let's just first save a substance painter file. It might take a little longer. Alright, so now we're done with this material also. Next, what I will do is I will start with the texturing of this ground. So you can move over to the ground texture set. And let's start with the texturing of this big ground plane. Now for this ground plane, I will be giving it a concrete action. So switch over from smart materials to your base materials and search for concrete. We will be using this concrete clean. Let's just close this folder first and drag and drop this concrete clean over here. Next to what you can do is you can create a folder. Let's rename this folder to ground. And drag and drop this over here. Click over here to use the geometric mask, right-click and exclude everything. Then just select this ground plane. Next, select this concrete clean fill layer. First, let's change the projection from UV to Dr. Lina. And I will increase the scale to see something like 13 maybe. Let's increase the texture size two for k so that we can view everything properly. Alright, so let's start to add some details to it now. Go over to layer. Let's add a new fill layer. This layer dark color, because we will be using it as dust. Add a black mask. Let's go over to the smart masks section. Close this up and again I will use the desktop occlusion smart mask, drag and drop it over here. Click over here to edit the settings. Let's increase the dirt level. I think around here we find also let's reduce the opacity. I will set the opacity to 50. Yeah, I think this would be like very subtle. Not too much in our faces. I will rename this to dust. Let's copy this layer and paste it again. Remove this smart mask. So let's just press this cross and I will add a default smart mask this time using the dust soft and drag and drop this over here. Set the capacity to full like this. Also, one more thing that we can do is right now both of these dust layers are inside this ground folder only. They are only affecting this ground plane. What we can do is we can select them both and just drag and drop them out of this ground folder so that they affect all of the models. So you can see now the dust is over here also. And I think it looks better. Now I think this much is enough. One more thing that I want to do is go over to concrete and I will decrease the scratches to 0. This is much better. Next, let's move on to a roof material. Just select the roof texture sec. Let's delete this layer first, add a new fill layer. And let us give this layer a color. Click over here. Give this color as 0.068. The saturation to one. For the value to 0.105. Something like this. There's rename this failure to base material. Let's create another failure. And we will be using it as a dust layer. But this time instead of changing the color to black, Let's keep it at right, only add a black mask. And this time I will use a different smart mass. So instead, I will use dust surface, drag and drop it over here like this. What do we need to do is we need to just set the opacity to very, very low, like n maybe, so that it is very subtle. You see, I will copy this up again. This time I will use it on my edges. First, let's rename this to dust. And this 12 edges removed this smart mask. I will be using this dust soft edges. Let's drag and drop it over here. And you see how it has masked out our edges with this white color with a failure. I think that looks much, much better than this. Next step. I'm going to add some roughness variation to my roof. So this time, let's create another failure. But this time what I'm going to do is I'm going to disable all of the channels, the color, the metal, normal and height. And I'm just going to use this roughness channel as you can see. But what I'm going to do is I will add a black mask to this. Next I will add a fill layer. Again, we will be using a grungy map. Just type in grunge maps. And I will be using grungy map number seven. Sorry, number seven, this one. So let's just open it up. Right away. You won't see you change. Let's enable mask from here and set the prediction to try planar and increase the scale to five, maybe. Now, if you press M, you can view the material. The reason we're not seeing any changes because the deafness is currently set at 0.3, which is the same roughness as the failure or the base layer. That's why we're not seeing any changes. So as soon as you will change the roughness, you can see how we have created this roughness variation. You can decide what kind of roughness you want to go for it. I will reduce it from 0.3, something like 0.15. Maybe. If you just rotate your screen and see how much effect it can create just by adding roughness radiation. You see, increase it a little bit. Let's set it to 0.19. Yeah, I think this is much better. Alright, for now, let's save our substance files. One thing that I wanted to mention again is make sure that in your roughness layer, you have only enabled the roughness channel. Because if you enable any other channel like the color, it will give you very weird results like this one, because now it also has the color information like this. What do we actually don't want the color information, we just want the roughness information. That's why just keep that roughness channel only. What I wanted to do now is let's add this roughness radiation layer to our ground also. So I will hold Control and Alt hit right-click over here to select the ground texture. Let's add this roughness variation in the ground folder Only 50k over here and add a new familiar hold Alt and just click over roughness to only enable the roughness channel. Now what we can do is we can add a mask, add a fill layer. This time let's use the grunge map number one. There are various different grunge maps that you can go for according to your legs. So let's just select this one. Adjust the balance, Let's set it to 0.4. You can go over here in the mask and enable planar and increase or decrease the scale. To see how everything looks, you can press M to come out of this mode. Next, click over here and let us increase or decrease the roughness. If you place your camera like this, then you can actually see the change. This roughness we recently it is adding to your ground. Let's just reduce it to point to, I think what you can do with this is you can also enable the color channel like this. It is not really visible, but it does add a little bit of information. If you see over here, if I disabled the color channel, you see it adds a little bit of variation and I think it looks nice over here. This would welcome only in some cases only. So right now I think it looks fine. So I will also enable the color channel. Add a little bit of more information. I think for now, this is enough for our texturing process. We will do some more things, but for now I think this much is enough. One thing that I forgot this, I also want to give the gold material over here also. Let's hold Control and Alt it right-click over here. First, let's go with gold and copy this goal damage folder. So press control C. Let's move back to building bottom texture sect, base to go over here. Right-click and exclude everything. In this case, the geometric mask won't work because they are a single object. Only. What we need to do is right-click again, include everything. Instead of geometry mask at the Black Mask. Click over here and select this tool, this polygon fill. Then move over to the mesh fill and keep on selecting all of these meshes. All right, Next, one more thing that I wanted to do is let's change the material of these blanks from work to this concrete material only. Move over here in the ground section. Let's copy this ground folder and also copy this dust prescribing volt plus c. Move over to the building bottom. Paste this over here. Not over here. I need to paste it outside of the goal damage folder. Like this. Both of these dust layers into both of these dust layers into the ground folder only. Like this. Now, click over here, right-click. Exclude everything first. Click and include everything. Click over here. And let's add a black mask to this. And quickly select all of these wooden planks. Alright, I think this looks much better. One thing that I forgot to mention is, for example, if you are selecting stuff that you want to add the material using this tool. So for example, you selected something that you don't want to select by mistake like this. If you want to remove this material from here, one thing that you can obviously do is just hit Control Z to undo this. But if not, you can also do this by changing this color from white to black by pressing X. You can see we can flip the color, select black and just click over here again to fill this object with black color. And as you remember, black means invisible. So that means that this material won't be visible anymore. And if you want to add it again, just press X one more time and then you can use the white color to make this layer visible. Alright, so I think for now this is enough for our texturing process will continue from here in the next one. Thank you guys for watching. Make sure you save your files. 19. Creating the Unreal Engine Project: Hello and welcome to Chapter 18. So let's continue from where we left. So now that we have completed with the texturing process, what we will be doing in this lecture is we will create a new Unreal Project and we will import our model over there and we will apply all the textures and just check everything in unreal, how everything is looking. So to start, let's open up unreal. Wait for it to open up, might take a little while. Click on this game's icon and we will create a new blank project. Name, this projectile Japanese. Underscores trying. Everything remains the same mixture quality preset is maximum. We do not need ray tracing because we will be using lumen. You can set your path whichever one you like. And let's just hit Create. Now when unreal is open up, you will see something like this. Just right-click over here and let's create a new level. Let's name this level one presenter, and let's open it up. Save selected. And you will see everything is black because we have no light sources or anything. So what we can do is first let's go over here in the Windows section and enable place actors so that it is over here, the place actors window. And we can place after easily search over here for directional light and drag and drop it like this. The next thing to add is MOSFET and drag and drop this guy atmosphere. Now what you need to do is select this directional light. If you just search over here for sunlight, you will see this atmosphere sunlight option just enable this. Now this directional light will act as your son. So you can see that next thing that we will add is skylight. Just drag and drop it. And make sure you enable real-time capture for the skylight from here. So that whenever we change our directional light, the skylight updates with it in real-time. And the last thing to add is the exponential height fog like this. You'll see these are some basic things that we need to add before starting a project. Now what you can do is you can use your Control L. Move the directional light and you can see as you are moving the light, the sun is moving with it and environment is reacting properly. Also, one more thing that I want to do is I will select the exponential height fork and I will reduce the form density, maybe something like 0.001. I think that is much better. You see how everything is reacting to it when I'm pressing Control plus L, you can write now place it anywhere you want. One more thing that we can add is you can search over here for volumetric, volumetric Cloud and just drag and drop them. You see already our environment is looking pretty nice. The next thing to do is first let's press Control S. You can close this place after window because now we don't need it. One more thing you can press Control plus sprays. Like you can close the content browser. And now you can press Control plus space to bring it up anytime you want. You can use it and as soon as you will click outside, it will go down. So it is a pretty handy shortcut. You can press Control plus space, bring it up, do your work, and then it can go down. But if you want to keep it in the window only, but it's controlled airspace. Select docking layout like this. Alright, Next I will just right-click over here, add a new folder. Let's name this folder as models. We will import our model over here. Go to Add import. Let's go to our tutorial directory. Import this shrine applied as bx dot that we exported for Substance Painter. So let's just double-click and open it up. The only thing that we need to do is actually there is nothing ligon Just hit Import All and wait for it to import this up. And the next thing to do is first let us wait for this to complete this building cards. Alright, so now it is done. So the next thing that you want to do is while everything is selected over here, you can just select it and drag and drop it into your scene for it to pop up. And you can see complete model is over here. Now. Next thing that you guys can do is you can press Control plus g, the join them. Now what this has done is when you will click on any of the object, it will select the complete model so it is easier to move. You can also just right-click and go over here in the group section and ungroup them due to select a single object like this. But for now, let's just select all of them from here. After selecting just press Control plus g. Join them. Next thing that we can do is we can press control plus L and move the light over here like this. You can also just press G to like turn everything off so that you can view your scene properly. Then you will put G Again, all these icons and everything will come back. But if we wanted to see everything properly, you can just press card. You can just press G to remove everything, and now you can view everything properly. So I think everything input pretty well. The next thing we need to import, these are textures. What I will do is I will go back here in the content section, create a new folder. Let's name this textures. Next, what you want to do is right-click and showing exploded. Open it up over here. Now you can come back to Substance Painter. And now we need to export these textures over here in this directory. So to do that, just press Control Shift and E. You'll see this window will pop up. This is the export textures window. The first thing is output directory, but you can do is you can go over here in this folder. Click over here and Control plus C, which is copy this complete Directory. Come back here and just paste it like this over here. And presenter. Select the folder and bring this directory part over here. The next thing to select is the output template. Make sure the output template is if you scroll down Unreal Engine four bagged, select this, the file type we will be going for this target. Here, select 8-bits plus D3. Last thing to select is the size of the texture. We are for now going for complete high-quality. I will be going for, for k. And the last thing to do is just hit Export and wait for the export to finish. Right? Now you can come back to the Unreal Engine. As soon as the export is done. You will see this window over here. So make sure you hit Import and wait for the input to finish. Alright, so now as soon as the importing of the textures is finished, what we need to do now is if you open up the models folder, you will find all these materials over here. We need to add all the textures to these materials. So let's do that one by 1. First I will open up the building bottom, Double-click. And this window will open up. Just select this node and delete it. Press Delete to delete this pest control plus space to bring this up, select textures. First. Select the first three textures like this. You can read over here it is the building bottom ones only. The first three. Just drag and drop them over here like this. The first texture is basically the color channels to select the RGB and put it in base color. The next one is the normal one. So select the RGB and put it in nominal. The third texture that is a bag texture. This texture basically has the information of three different channels that is of roughness or italic and ambient occlusion. What you need to remember is the R channel, it goes in ambient occlusion. The G, That means the green channel goes into roughness and the blue channel goes into metallic. Also, one more thing that we need to do is right now if we will just save this. Now you will come back to your scene. If you try to view the wound properly, the wood looks very, very reflective. If you can see that properly, all the areas of the world of this material look very reflective and they look kind of weird. So there is a very easy fix for this. You need to remember this, this is kind of a different texture. So first you need to select this. There is one thing that we need to disable and change. Click over here and make sure you're disabled sRGB over here. Just do that. And you will see this edit over here. We read this error so that so the NRC is sampler type is colored and it should be linear. So it is pretty simple. The sampler type over here, this color, we just need to change it to linear color like this. And now you can hit Save. Wait for it to finish. And you can see over here it is not reflective anymore. Let's close this up and you see it reacts properly now and it is not reflective. Alright, so let's move further. Double-click over here and open the building material. Let's delete this. Risk control plus space. Drag and drop the next three textures. Plug this in base color, this one in normal. The R channel goes into delusion. The green channel goes into roughness, and the blue channel goes into metallic. Make sure you remember all of this. Let's hit Save again. If you will view the model now, again, it looks very reflective. Make sure you make the change. There's maximize this. Click over here, double-click over here on this section. Disabled as RGB and change the sampler type two linear color. Let's hit Save. Close both of them and everything looks fine. Let's keep on moving further. Open up the gold. Believe this, press Control plus space. Drag and drop this over here. This goes in base color, this one in normal, goes in ambient occlusion, green and roughness and blue in metallic. Double-click over here. Disabled this sRGB. Sorry, I think I did it for the round texture. Enabled back as RGB. Save this versus dilute this and bring it back once again. Drag and drop the base color. And now you can connect it. Now select this node. Double-click over here, disabled SRGB, and choose the sampler type as linear color. Hit Save. Let's just check once if everything is looking fine. I think it is fine. Alright, let's move further. The ground texture. Next, hit Save on this and quickly check if everything looks fine. The last one remaining is the roof one. So let's quickly add that to drag and drop the last three textures. Connect this in base color. This one in normal, goes in ambient occlusion, green in roughness, and blue in metallic. Double-click over here. You see about SRGB and change the sampler type two linear color. Let's hit Save. Just check how everything is looking in your model. You have imported all the materials and everything now. You can just press control plus L and change the lighting to see how your model is reacting to it. I think everything is looking pretty nice. So we can see what unveiled Project right now, press Control plus S. Save, and we'll continue from here in the next one, make sure you just close the Unreal Project once and hit Save Selected. You just save everything in your Unreal Project. Thank you guys for watching. We will continue from here in the next one. 20. Adding Megascans Trees: Hello guys, welcome to Chapter 19. So now that we have added all the textures and everything In this video, we will be adding some trees in a bedroom or here to further enhance the look of our scene. The back that I'm going to use is this one. This is omega scans three back, which was just released recently. This is a completely free pack which we can use in our project to further enhance. This is a pretty great set of trees that are realistic and we can also do a lot of customizations on them, like changing the wind speed, changing the seasons, etc. You can also watch this complete video over them. A quick sell to get a better understanding on what they can offer you. In this video, I'm just going to show you how we can add them in our projects. First, let us just close this Unreal Engine for now and go to your desktop and open up this epic Games launcher through which you downloaded your Unreal Engine five. From here you need to move to the Unreal Engine section. You will be opened up with store, but click over here to the Unreal Engine section and head over to the marketplace. Wait for it to load just a little bit. Now from here you can go under free and an omega scans. The first product you will find is this mega scan striven only. You can click over here. Before you can start with downloading and clicking on Add to Project, let me just tell you something. These methods countries are only supported for 4.254.27, but we are working with Unreal Engine five. You don't need to worry. I will show you a way to which we can export these trees in Unreal Engine five that is in our project. So for that, one thing that we need to do first is go over to library. And you need to download both of the Unreal Engine versions, the Unreal Engine five, then Unreal Engine 4.27 also, sorry you guys that much you need to do. You need to download the 4.27 version. You need to just click over here, then select the version from here. From here, you should select 4.27.2. As I've already downloaded it, I will not download again. You can just first download for 0.27.2. Then you can come back over here. After you have downloaded it, just launch it from here. Weight for the launch. Now, click on games and create a new project. This project is like just a place holder project in which we will be exporting all activity textures. And afterwards, we will move all three models and texture to the Unreal Engine five project. Don't worry, just need to create a blank project. Let's name this project as 3s export. And hit Create Project. After you've done this, it will open up in Unreal Engine four. Now you can close this again and open up Epic Games launcher. Wait for it to open up, and then you need to move over to marketplace again. Move over to free mega scans. Click on this mega scan trees. Now you need to click over act to project and just select this project RES export that we just created and hit Add to Project. Now if we will go over here in the download section, you will see that it has started to download. Now we just need to wait for the download to finish, and I will cut the video and resume when the download finishes. Now the download is finished. You can click over here again, active project, select your trees export project and hit act to project. It has already been added. So just check, Cancel, close this and open up Epic Games launcher. Open up Unreal Engine from here, Unreal Engine full. After you open this up over here and open this project. Now what we need to do is you will see this black editor folder over here. This is the trees that we just downloaded. You can hit right-click and select migrate. All of them would be selected then hit Okay. Now you'll need to head over to the original project of yours that is in Unreal Engine five. Let's search for it. I will hand over to it in my computer you can do in yours. I think it was over here. This Japanese shrine one. You need to select the content folder, double-click over here, and then just select select folder. And it will start to copy files. You need to just wait a little bit and it will be done. Alright, so as soon as it is finished, you will see over here that content migration has completed successfully. Now you can close this project again. Now I will open up my Unreal Engine five. Next, I will open up this Japanese shrine project that we were working on earlier. Now you can see over here this black folder. If you would open your level. Double-click over here, head over the geometric. In the simple wind section. You can see all these trees over here. You can just drag and drop one of them. And you can see everything is working properly and we have added trees. I think this much is enough for this video. In the next video we will add all the trees in the background. I'll see you there. Thank you for watching. 21. Placing the Trees: Hello, welcome to Chapter 20. So in the last lecture we added our tree. So in this video we will place all at region a background and everything. So let's start. So the first thing that we need to do is we need to create a ground that will be our base for adding the trees. So we need to create a landscape. You can click over here on this tool. You will see this green box like thing and that is your visualization of the landscape that will be created. So I think the default settings are pretty nice. We don't need to change them much, just hit Create and this landscape is created. Now, let's move back to the selection mode so that we can select the landscape, the selected like this. And I just wanted to move it a little bit downwards. Also, I will select our main model and I will increase the scale of it a little bit. Over here you can see one, just change this to 1.5 for all of the axis. Next, I think it is placed quite well. All right, now I want to create a little bit of variation in the lab because right now obviously it's very flat. So because for the background, I'm trying to create a forest like thing. I want the ground to have a little bit of variations. Not much, but just a little bit. So if you click over here in the landscape editing mode, you will find all these different tools that you can use to create variations in your landscape. The wafers tool is the sculpt tool that can basically help you to raise or lower the height of a landscape. You can use your left mouse button to raise the height of a landscape like this. You can hold Shift to lower it. That's pretty basic. There are also different settings for a particular tool, like the tools strength, which decides the overall intensity of the tool. Like if I increase it to one, you will see the height is increasing at a much faster rate. And there is also brush size and brush falloff that are pretty self-explanatory. So if you increase the brush size, you can see the size of this brush over here increases or decreases. The falloff is the falloff from the edge of the brush. If I say two to one, you can see now the brush is very smooth. If I just set it to 0, then the brush would be pretty harsh like this. There are also various different tools like for example, if I create a little bit of terrain like this, the next tool is the smooth tool. It will try to smooth out the different variations in height like this and try to create a smooth surface. Next one is the flattened tool, which you can see over here directly. It will just flat out surface. Like this. There are various tools to create your own daring. There are also erosion. Erosion is basically it tries to duplicate the illusion caused by soil. Like if we'll just move it like this, let me just increase the falloff. Decrease the falloff. And you will see it is trying to replicate the soil erosion. That is also hydro, which replicates the illusion caused by the info. There are various tools. You can spend a lot of time on it to create your very little stick and everything. But we won't be spending that much time on it because at the end of the day it will be staying at the background. And our main focus would be on mean model that we created. I'm just quickly going to create some variations so that when we place our trees, they are not like flat on the single surface only and there are some variations over the landscape. I will just basically select the erosion tool and I will set the brush size to somewhere around 1600. Brush fall off to 0, set the two strength to half of it. So 0.5. Now I will just like this, try to create some erosion around this main model that we have created. Just run over my brush, over my landscape quickly to create some variations over the line. That is pretty simple. You can spend as much time you want to create various shapes. You can also even create mountains and stuff like that for your background. But for now I'm just going to add variations like this. You can also use this Noise feature, which kind of acts in the same day. I will be just going with erosion. Only. What you can do is you can also use the Smooth tool, decrease the brush size, and try to smooth the areas around this main model. Like this. Yeah, I think so something like this will be fine. Let's just place our trees once and then we can edit our landscape later on also. But first I wanted to place my trees and see how everything looks. So next, let's just come back to the selection mode. Open up our folder of trees headword geometry, and make sure you don't go into pivot painter. And make sure you select Simple window only because it's simpler. Models are optimized. The pivot paint them are models are really not optimized for cinematic stuff when you want to go for absolute high-quality, but it will make your scene very laggy. Nfp is very low. So I'm going to go for simple vein, open up this tool, the foliage editing. And now in this mode we need to drop the foliage that we need to use over here. Then we can easily paint over a landscape using the tools. I'm going to drop the trees one-by-one. I will drop this tree, the tree number one, the tree number 2. Third, I will skip, I will drop the fourth or fifth, I will drop, I will drop this one. This one then the sixth one. Again, this is purely a preprint space thing. You can choose whichever the trees you'd like. But I'm going to go for these only. Also the third one and then the eighth one. Now there are various settings in this tool also, right now I have selected single instance mode, but I will just disable this right now. And you can see again the same settings, the brush size, the paint density is different. The paint density is basically how much trees you want to paint. The density of the tree is actually, if we will increase it usually and see how much dense this has got, but actually we won't be using this amount of trees. This is basically observed. I will just reduce the pain density to somewhere around 0.002. I think. Let's see. Yeah, I think something like this much will be fine. What we can do is let us just try to paint it. I will set the size to somewhere around two thousand. Thirty two thousand. And try to paint the surrounding areas of your main model with trees like this. Also one more thing that you can do is if you are like PCs getting kind of laggy, you can go over here and save the screen percentage 250%. This is like the resolution lighting. If you decrease it to 50, it will give you more FPS, but your things will be kind of blurry. But we don't mind that right now. When we will be taking high-resolution screenshots and everything, then we will set this 200 or even more. We can also set it to 200. But now you can see how everything is slow and choppy. So let's set this to 50. Also, I will increase my camera speed to six so that I can move around easily. You can see as I'm going far with my camera, the trees are kind of showing up in cards like things, so they are optimized and as soon as I come close, they look like properly holistic trees. Let's just paint some more density. When we take our screenshots. They are not like see-through and people can see at the back over here, well, there is nothing. So actually I don't want that. That's why I'm adding all these trees. I think for now this is fine. Let's just zoom in from over here. Next, what you can do is you can decrease the brush size to very little. Just please some trees like this. At the front. This tree is kind of looking weird. There's just place it once again. Also one more thing that I wanted to show you guys. If you're not liking a certain tree, like over here, for example, you can just increase first the brush size, then you can hold Shift. And it is the trees. From that certain part. Also some more customizations that I wanted to tell you guys is, let's just remove this 1 first. For example. Now you can see all these trees over here. For example, let us say you are not liking district, wanted to reduce it from your forest. So what you can do is select this and set the density over here to 50. Or maybe even less than this tree would be like. The chances of responding would be like, I guess 50%. That is the half of all the trees. Whichever trees that you don't lie, you can reduce their density so that they will appear less than your forest. But for me, I think a 100 was fine. Also one more thing that I want to show you guys this, instead of this leg painting style of trees, you can select the single instance mode. If you select it. What this will do is you can see it has created a very small brush. So what this will do is wherever you will click, it will produce a tree over there. And it will cycle through selected. The mode we have selected right now is cycled through selected, which means first it will paste the first three, then it will paste the secondary, then the third, and the fourth and so on and so forth that we keep on painting different ways according to their order. So that's why it is cycle through selected. Let's just undo everything. Different mode is all selected. So I think this one is the same three over and over again. I will just remove all of them. Let's just remove this tree also. So I will disable a single standard mode hold Shift and just remove it from here. Because I really don't want any of the trees in the front because they will be blocking the sunlight we can use to create some different types of moods and everything. I don't want any trees in the front rest like it is up to you. You can also play some trees in front. Now what we will, what you guys can do is we will be placing a camera like this, somewhere around here like this. So what you can do is you can customize the trees in the front over here. You can decrease the brush size. You can delete whichever trees you don't like and you can please more trees over there using the single instance mode or the painting mode only. But for me, I think I've given you all the basics to do that. For me. I think this much is fine. Let's move further from here. Now what I will do is let us just use a basic material for a landscape because right now this checkered pattern is throwing me off. The texture that we will be using is from pixel only, so it is included in Unreal Engine four or five. You can go over here on content, select Quickstart bridge. Wait for it to open up. So it is now like well-integrated into unreal only. You need to login into your unreal account. Let's search for soil. There are various soil textures that you can go for. The one that I am looking for is I have already downloaded it. You can also go for that one. So this one, forest mulch, you can search for it and you can also download this one only. After downloading, you can just hit this blue atom over here. It will export it to Unreal Engine. You can see immediately it has exported it over here. The next thing to do is select your landscape. Scroll down, you will find this landscape material option. Just drag and drop this forest module here. For now, this man is fine because we won't be able to see the material that we're using on the ground. So this much is fine. Also, let's play some trees over here. This corner. Select the foliage editing tool. Let's remove some trees from over here. Reduce the brush size even more and please them like this. These two results are looking kind of weird together. I think this looks much better. Next, what we can do is let's play some small trees over here, like small saplings and everything. You can always edit this stuff. Take as much as time you want because actually we won't be able to like nearly perfect. Because this is completely a preference based thing. I'm trying to find the right 34 displaced. Let's just go over to the single instance mode select cycle through selected. Place, some trees over here. Yeah, I think something like this would be fine. Next, let's go over to the black editor folder. In the simple wound section, you can find, or you can find all these sapling trees. So let us just select from one, This 123456 and these two different variations, also 12. And just drag and drop them over here. So now what I will do is I will select all these huge trees that we added earlier. Select the first one, hold Shift and select it till here, then disable them from here. Now if I paint like using my brush. Now if I've been using my brush, you will see we are only painting the small sapling trees and not the large ones because we have disabled them. And these ones are still enabled. Let's just remove them. I will increase the density for these, so let's set it to 0.05. Let's see. We can go a little bit higher. 0.007. Yeah, I think this would be fine too. Let me just quickly randomly spray over all these small saplings or lower our forest. Not really much at the back, just at the front, that people are not able to see any like empty spaces. Again, this is totally up to your preference, personal preference, how you want to do things. This part of the course is like kind of Additionally, if you wanted, you can do all of these things. But if not, you can also displace this single building also. And I think that would also look good. Thank you of increasing the intensity 0.01. Alright, so yeah, I think for now this is fine. Let's just disable all of the saplings. Enabled that the trees select the single instance mode. And let's place some trees over here, not the large ones for the small ones. I think this one is fine. First, let's save our projects. Control plus s. Move back to the selection editing mode and see if everything is looking fine. To see if everything is looking fine, Let's just add a camera. To create a viewpoint. Go over to create cinematic and scenic camera actor. I will do is you need to just place your camera where you want to place it. Actually, let's just reduce the camera speed so you can place your view. I think I will place it like that. Something like this. The next step do is select your camera, right-click on it and Snap object to view. And then right-click then pilot camera actor. And it is squared zooms. So just go over here, scroll up from universal Zoom, select 12 MN. Let's just zoom in a little bit. And yeah, I think something like this will be fine. You can also change the camera from over here. Definitely not this one for now. There's a second digital film only. Now what you can do is while you are viewing through this, you can increase your resolution from here, the screen percentage, and you see immediately everything looks very sharp. For now I think something like this would be fine. Let's just hit Save. The next thing that I wanted to show you guys this, if you just come back to your content, head over to the MS presets folder. In this folder you will find this MS underscore foliage underscore material folder. Open this up. And in this global foliage chapter. And just select this actor and drag and drop it over here like this. Now what this actor will do is, it is a pretty great thing. You can just, you can edit all the trees just by using this actor only. For example, if you just select this actor over here you will see some of the settings, some of the global settings like the wind, the light, the season and health, and the color variation. Let's do the first thing is first for the directional light, I will just select my single light. Arsine only has one light that is this directional light. So we'll just select it. This does not do much, but it is basically like for some calculations to calculate the shadows and everything. So we need to select our directional light over here. The next thing you see overhead is the winning. So as you can see, our trees are moving. They are being affected by the wind. So we can stuff like the wind noise. But I don't know how it affects our trees in particular, but you can see some changes over here. But I think the only thing we will be adjusting is the wind strength. Because if we increase this, you can see how our trees are swaying. The difference between wind speed and strength is that strength will increase the strength of the wind. So like if you weren't a hurricane type environment, you can increase the wind strength. But for wind speed, it will just increase the speed of the animation of your arteries. So if I set this to do again, you can see the trees are swinging very slowly because the wind strength is two. But if I increase the wind speed, you will see the animation is happening fast twice, but it is looking very unnatural. For this also, let us just keep at wind default only. We will only be changing the wind strength. You can see this looks very natural. The wind strength has increased and they are swaying like it is a very windy day. For now. Let's just keep it at two only we will look over these things that are later on stage. The next is season, season and health. I will right-click over here in my camera actor and just stopped by letting so that I can move around easily. The cameras beauty is currently or do. Let's just increase it a little bit. And I will show you the leaves from a closer perspective. Decrease the speed so that you can just like this. Alright, let's select the global for huge factor again. Now for the season, if you just increase the season strength, you will see how the leaves are changing its color, like it's autumn. Season brightnesses. For example, if the color is something like this at yellow, if you increase the season Brightness, the brightness of the color of the Caesar will just increase like this. You can see, it can give you very observed results. Also, if you are going for something like a fantasy environment, you can definitely do something like this. You can also increase the season saturation, which will increase the saturation of the leaves like this. Again, this can also give you very creative wizards. First, let's just set them at default at the green color and the season health is a pretty cool setting. If you see over here, I'm just decreasing it. Let us just first set the strength to 0 so that the three stop moving. Next, if you see over here, the difference between seasons strength and seasoned health is if you just increase the season strength, you will see that color changes from green to yellow gradually. There is nothing like a scientific involved in it. But if you decrease the health, you will see how the leaves first turn around like blackish, yellowish color from the edges and then still greenish in the middle. And if I keep decreasing the health, how they gradually decay. I think that is pretty cool about these set of trees that we can, how we can customize them. Firstly, let us just say dentally. Again, this is a very preference based thing. You can again, bilabial camera actor so that you can see everything in one go. Let's just move this fully ejector over here so that we do not see it in our camera. You can change the season strength accordingly and you can see all of the hood threes are changing at one goal only. So this is a pretty cool feature about these trees. Let's set the wind strength back to two. For now, I will send the season strength, everything to default only, but we will change some of these parameters at a later stage when we are changing stuff like lighting and mood and adding the post-processing, then we will change all of these parameters. But for now I think the default ones are fine. Also, I would suggest you one more thing that you should spend some more time on your trees. What I mean by that is like you should try to remove some grease from here and add some according to your preferences only. Because these things that only the part that we can see over here in our camera, over here in background. You can just try to customize this as much as you can so that it is to your liking. You can just go back to this tool, this foliage editing tool, remove some of the trees and add some of them. You can also use the trees that we left out. If you go into the black added a folder in the simple when there are some trees that we left out because personally they are not to my liking, but for you you can add them and play with them as you weren't. I think this much is enough for this lecture. We will continue from here in the next one. Thank you guys for watching. 22. Setting Up Lighting and Post-Processing: Hello guys, we're going to be Chapter 21. So in this video, we will set up the lighting and post-processing a bit. So let's start with the first thing that I wanted to do is I want to set up the camera a bit more better. Let's just right-click on a camera. Select pilot. And I will change the film back over here to 16 by nine DSLR. And I will increase the focal length of the lens from over here, statute 30. Then I will just zoom it out a little bit like this. Now what you can do again is to decrease the camera speed. Then just by locate from over here using a normal controls like this. I'm just trying to set up a view. Again. It's up to you. You can even go forward or higher focal length, 50 or even bigger than that. But I think for me 30 will be fine. Something like this. The next thing to do is to set up the focus around our main object. From over here in the focus settings. You can set this to manual enabled draw the book focus plane. So this will show up late where your camera's current focus is. If you decrease the distance, you will see a plane like this pink one. So just save this plane around somewhere here around our main object like this. Disabled debug focus plane. And now we have said this as a main object. Alright, so now you can press G to just remove the everything grids and the icons to see everything properly. And now what I want you guys to do is now that we will be setting the lighting and the post-processing. So we will be changing the look of our scene very drastically. What we will be doing is first I will take a screenshot of this particular chart so that we can compare it later on that how well we have done our lighting and post-processing. I will just be taking a screenshot now at the start of the video, and then at the end of the video, we will take a screenshot of our scene and then compare both of them. So what I will do is select this global foliage actor said the wind strength to 0 for now, that the three stays stationary. Let's increase the screen percentage, or I think a 100 is fine. Setting it to May 200 cause your PC or Unreal Engine to crash. So let's check out a 100 and then from over here, select high dissolution screenshot. Again, I will be increasing the screenshot size multiplier to, to do that, add your own caution because if you increase it and you don't have like a appropriate graphic card for your Unreal Engine might crash. So first serial files and then go for this first, you can try taking a screenshot at one. But let me just tell you it would be like quite bloody and low-resolution. I suggest you to go for at least 1.5. If you have the correct specs, then go for two also. So I will be setting to two and then just hit take a screenshot. This window will pop up over here, just click over here. And this screenshot has saved to our project folder only in saved screenshots and then Windows Editor. And you can open this up and you can see this screenshot over here. Also one more thing that I suggest you guys is Let's just close this. You can close the content browser and just increase your screen size like this so that the screenshot is even better. Now if I take a screenshot, it will be even more resolution and a bit more clearer and shop. So just take a screenshot again. And again. Let's click over here. I think this one is better. Let's just delete the older one for now. Alright, so now let us start with the lighting and everything. Alright, so the first thing to do is select your directional light. Us increase the intensity to 15. Now I want to go for a scene for evening types on seq type scene. I will press control plus L and then just try to move my son accordingly like this. You need to wait for all the lights to update. Something like this. But what I suggest you guys is that you should experiment with this for five to ten minutes, entire different lighting scenarios and everything. And just try to come up with the best lighting that you feel is good. Now I myself just quickly without speaking, I'm trying to set up my lighting over here. As I said, I will be going for the evening types and 16. Guys, I was just thinking a little bit off camera and I did nothing special. I just press control plus L and try to set the writing in the way I lied. I'm sure you do the same thing because it is really up to your preference only you just need to press Control L and then try to move your mouse and try to find the best lighting for your scene. But for me, I have just rounded off the numbers. So you can see these rotation, 74 on the x minus two on the y, n minus a 117 for the z. These are the rotation values for the directional light that works the best for me. But I don't know what works for you. So you just need to spend a little bit of time on it, like 15 to 20 minutes, 1015 minutes to find out the perfect lighting, then you should go with it. I think I will be going with something like this. Right now. I will agree that it looks plain horrible and it does not look very nice, but we will add the post-processing value to fix everything up in RC. So you can go over here in the create section. The volumes individually effects, select post-process volume. What do you need to do is let's press G to view the icon. You can see this box over here. The post-process volume only affects what is contained inside this box. So we changed the setting search over here in the Details panel. Search for in finite. I logged this section, just remove this lock and then select the post-process volume. And now I will search for infinite, finite extinct, just enabled this. What this will do is this. Now this post-process volume will affect the whole world. Can close this open up lens. So now there are lots of settings that we need to go through. Obviously, I won't be changing all of them. I will be changing some of them. The first one that I'm going to change is the blue. That is pretty self-explanatory of setting. If you just press G again, select post-process enable intensity from over here. If you just take it to 0, you can see how I used to have like low, but if I set it at 0, there is no glow from the areas that are lit up. Bloom is basically if you increase it, it will add more glow to your likelihood of areas. Obviously adding it in large amounts won't really do us any good. So I will set it to around two. Nobody is still too high, but we will do some more settings that will compensate for it. So the next setting that I want to work with is exposure. First, let's enable minimum and maximum. And right now they're set a default value, 0.038. This is causing the exposure to change again and again in our scene. And I really don't want that, so I will say both of them to find for now. You can see this has drastically changed our lighting. The scene is kind of a little bit dark. Now, what I want you guys to do is enable exposure compensation. And now you're going to set the brightness and darkness in your scene by moving this exposure. By moving this exposure compensation, I will say it was earlier at one. So let's try and decrease it. Decreasing it makes our scene even darker. I will increase it a little bit at 1.5, I think. Yeah, I think 1.5 would be fine for now. Let's move further. Another setting is chromatic aberration, but I won't be using it. You can just enable this and see for yourself how it affects it. You see, it causes the three colors to separate over here, the RGB. And it really does not look very nice in this type of scene. I will keep it disabled only. Dot mass camera we won't be working with. You can also enable lens flare. If you enable this, you can see this lens flare appearing over here. If you just move your light, press control plus L, You can see how it is reacting with light. But again, this is like in too much about, you can keep it but we did reduce like 0.1, maybe even disabled it. It is totally up to you. Let's move further. I will enable vignette. Vignette is like it will darken your corners to add more focused at the center of your scene. If you just increase it, you can see over here, I will take it to around 0.7. The next is color grading. In collaborating, I will just enable temperature. And if you increase this, it will give you a scene, a yellowish tint as you can see, but if you degrees it, it will give a blue state. I want to set it at around 5500. I think. I think that would be perfect. You can just enable and disable settings to see how they affect your world. Yeah, I think this is fine for now. We can always change the stuff later on. This is the lumen that is the lighting solution for the global accumulation. If I set this to none, you can see how we're not getting any secondary light now over here, over here, and some parts over here also everything is like very dark. But if I set it to human, you can see how we're getting that secondary bounce light. Let's just set the final gather quality to two when n two really does not make much difference, but let's just save it to the rest of the settings. Like totally up to your preference. You can also change stuff like if you just enable this back again, there is green detailed and green intensity. If you will increase this, you will find this green lighting moving. That can light. It is used to add a little bit of noise to make your legs seems a little bit imperfect to add that camera imperfections, but I will not be adding them. Next, you can also do a little bit of color grading. You can enable saturation, increases saturation or decrease it. But most of the stuff this much we can do in Photoshop also, so I will not be touching all of this. There is like for global, for shadows, mid tones and highlights. These are pretty self-explanatory stuff. You can just open them up, increase or decrease, then give them a tint of different colors. I will not be playing too much with this. The next thing that I want to do is I want to work with the exponential height fall. Just disable this. You can see how much of an effect it creates over here in the US if you see closely. So right now I think we have decreased density too much. It is 0.001. Let's set it to 0.01. Now if you enabled or disabled, you can see how much of a MOSFET it adds. I think this is again, very personal preference thing. I want to add this stuff because I like it. The next thing that I will do is right now. Right now the full cutoff distance is at 0. You will see just as I increase it and set it to around 20 thousand, then again decrease it to 10 thousand. You can see how much it has changed our Skype. Now if you just click over this arrow again, it will set the value to default. And you will see how our sky look very unnatural according to the environment. But setting it at around 10 thousand, I think, gives us a very natural look according to the lighting. And I think that looks much, much better right now. I think these are the changes that I want to do next time we'll select this global full huge factor and change a little bit settings with my trees. I will set the seasons trend to 6 thousand to give them an autumn like field. And not this yellowish color because I want them to like go with the mood of the scene. This yellowish lighting and yellowish trees, you can see executives 65,017 season brightness to certain season brightness or 0.5 only and seasons saturation to 1 to the health. I will keep it at ten only. And let's set the wind strength back to again. Alright. I think these were the changes that I wanted to do. One thing that I forgot to mention in my earlier video was color variation. But it is really of no use to us because it is used when they are like large forests are created and you want to add variation second macro level. I won't be using. Now what we will do is let's take another screenshot. Close this window. If you want, you can increase the screen percentage to 200 to see how everything looks like. Very sharp. Let's disable the wind for now because I want to take a screenshot and I don't want the trees to be moving. I will set the screen percentage back 200 because it is getting kind of choppy laggy. Now let us take a screenshot and compare both of them. Tight dissolution screenshot set this to two. Let's take a screenshot. First, let us save a file. I forgot to mention this, but you should see your files before taking a screenshot because it might cause some issues or even cause to crash and religion. Let's open up the Windows Editor and compare screenshots. Even in thumbnail, you can see how much of a huge difference it has. Few open it up and just compare both of them. You can see how much of like how much of a MOSFET and mood we have created with the lighting and post-processing and everything. And it takes a project to a next level and I think it looks pretty good right now. I suggest you guys tinker a little bit mode with all the settings that I mentioned in this video, like the post-processing one, the lighting changing the lighting setup and everything also play a little bit with the exponential height firewall. So tinkering with all the settings that are present in here. If you want, you can set the four cutoff distance back to 0 only and you will get a completely different sky. And I think even that looks well with our scene. But for me, I think I will go with a value of 10 thousand only. Right? Let's hit Save. And I think this much is enough for this video we'll continue from here and the next one. Thank goodness for watching. 23. Making Some Adjustments and Different Lighting: Hello, welcome to Chapter 22. Now that we are almost nearing the end of our course, in this video, I will be making some changes. I'm doing some additions. The first thing that I'm not quite liking is this picture of the ground. First, let's change that a little bit so I will open up my Substance Painter. Wait for it to open up and let's open up the substance painter project. Go over here and file then in recent files, the Japanese shrine project. Alright, so earlier we went for a concrete type texture, but this time I want to go for something like tiles. Go over to Google Chrome and we will download another texture from another free site that is pretty great. Search for polyhedron. Bol by attribute Cen and hit Enter. The site will pop up. Just click on the first link. This website offers everything like HDRI is textures and even models. We need textures for now. So click on row structures in the search bar. Let's search for tiles. Now we have some options. The one that I liked the most was this one, floor tiles 08. So just click on it. You can select the quality from here. So I think for k would be fine for us. And let's just hit download. Wait for the download to finish, and I will just resume the video when everything is done. Alright guys, so now the download is finished. Just open up your downloads folder. You will see this file over here. This is the file just press Control plus X to cut it. I will go over to my tutorial directory in the textures folder. Let's just paste it and right-click then extracted. Open this folder up. In the textures folder, you will find all these for textures. Let's just drag them, drag and select all of them. And then just drop them onto the substance painter shelf like this. Drag your click like this to select all of them. Left mouse button and just select all of them like this. Or you can also press Control plus a click over here and let's export them as textures. I've already mentioned about distinct that way we need to import our resources. I will import them into this project only. Let's hit Import. Now I will move over to the ground texture set because we want to make changes over here. Let's open up the ground older. I will just disable this concrete clean for now. Let's create a new fill layer. First, let's select the base color and drag and drop in the base color. Now we are seeing all these white, weird patches. This is caused by this layer. What we can do is we can just disable the color channel from over here right now and come back to this layer again. It's double-click over here and let's rename this to tiles. Alright, Next, let's just hover it over here. So this is the displacement map. The displacement map goes into the height channel. Like this. You can see it adds all the height information. Next, the normal map goes into the normal channel and the roughness map goes into the roughness channel. The next thing to do is pretty basic. Let's just select the projection from here as tripling. For now, obviously the tiles are very, very huge. I will reduce their size by increasing the scale. For now, let's set the scale at four. We have this weird portion over here. So let's just decrease the scale by little. Just a little bit down from four so that it fits perfectly. I think it is around 3.8, maybe 3.85. Yeah, I think this is perfect. Right now. I think the height information is too much. So what I will do is again, I will go over here in the base color section. Go ahead and click height. Then you can just select this opacity challenge and UC, I'm reducing the height to 0, so there is no height information. And at a 100 there is complete complete hide information. Let's come to a middle ground and set it to 50. Now I will export this to Unreal Engine and see how everything works. But let's change this texture also. So I will just copy the styles layer. Just hit Control plus C, hold Control and Alt, and right-click here so that we can move to this texture set. I will paste this. Let's select geometry mask, hit Exclude all. We can really do that. Let's right-click again and hit include all black mask. If you remember, we need to select this tool, select this mode, the mesh fill, and just keep on selecting all of them one-by-one weekly. Let's just see if they match. What we can do is we can reduce the scale so that we don't see any boundaries. I think this is fine. Let's move this down. Over here. At the top was fine. The final thing to do is let's just export everything and check how this looks in Unreal Engine. So press control shift and E to export your textures. All the settings are the previous one only we do not need to change anything. Just hit Export and wait for the export to finish. It won't take much. I think the export is done. Now, you can come back to Unreal Engine and you will see this palpable here. So just take import and wait for now the import to finish in under Lincoln. Yeah, It has done. I think this looks a lot lot better than our white, plain concrete texture. You can check the camera. I think we are in the camera view only. I think this looks much better. The next thing that I want to do is let's come back to Substance Painter. And if you remember, in this particular texture saved in the building mean texture set. If we come to the normal, normal channel, you will see we have set this to 30. If I save this 200, you will see all this normal information. If you can see it now properly, I will just reduce it to 0 and you can see the difference. So we earlier said this to 30, but now I think we should add it a little bit. So I will set this back to 60, that we have some normal information. And for this texture set also the bottom one, the building bottom select this. Let's take the normal channel capacity level to 64, this one also. Now let us again export everything. The export is done in Unreal back again, we need to hit Import again. So there is a lot of back and forth and waiting times, so it kind of happens. Alright, so it is done. There is not much change that I can see. But I think it is a good thing to have began you and increase it a little bit more, but let's do it later on. The next thing that I want to show you guys is, let's create a painted wood like texture. Right now we have the plain wood. That is the traditional watercolor, but let's give it a little bit of a painted look field. So what I will do is let's come back to the base color. Let's go back to building Maine. And I will add, now I will add another layer on top of the base material like this. And you see even this looks fine. Let's change its color to something like red. So click over here. The base color. The h value stays at 0. I want to give it a red color. So 0.789 for the saturation, for the value, set this to 0.689. It looks very perfect right now. And you can see these lines over here also. We will solve all of it just a minute. The next thing to do is let's add a black mass to this so that it completely disappears. And the next thing to do is click over here and add a fill layer. If you click over here and search for directional noise and select directional noise one, you don't see a huge change. But if you increase the contrast to something like 0.65, I think, increase the balance also. But first we need to set the UV prediction to try planar, again. Scale to something like three. Now we can just adjust the settings. You see how we are giving this a would like chipping off Python. Let's say the contrast to 0.85 decrease, increase the balance. Then also play with the scaling a little bit. Let's set this to 0.7. You'll see this has given it a completely different look. And even this looks good. If you want, you can increase the balance to give it more of red color and just have a little bit of bookkeeping, something like this. Let's copy of this layer. And let's rename this to paint. Copy this and move over to the building bottom. Open up this would click on this base material and just hit Control plus V to paste it. Now this will appear over here also. I don't think it goes well with the scene, but yeah, I'm just telling you for the sake of telling it if someone wants to do it, you can also give this printed look field to your model. If you want to remove these lines, Let's come back to building Maine and see what's causing them. So it is this particular layer that is causing them. Click on this mask. Add a new paint layer to this mask. Select the brush. If you remember, white color is for visibility, and if you press X to switch back to black color, you can easily erase this. Materializing it like this would be pretty obvious. Remove this imported resources for you to come over here in brushes. Let's select the two brush. You can scale it down by holding Control and using your right mouse button to scale the brush down like this. You can also move it up and down to increase or decrease the hardness left and right for scale. Remove this harsh line that is in-between. It is looking kind of weird. Over here also. You see how easily we can customize things. I don't think there is anything at the back. I think this is fine. So let's just export it back again. So hit Control Shift and E, I'm hit Export again. Okay, So the export is done back in Unreal Engine. Click over here. You see the red color has appeared overhead, but I don't think it is quite visible because our lighting type is kind of solution oranges. If you just click over here, press control plus L to change your lighting. And immediately you will see the red color building. Now, I think even this looks very good. So if someone wants to go with this type of color, they can also go for this. But for me, I will be sticking to my original color only. Instead of just deleting this layer, I will turn it off like this. In the building bottom section also, I will turn it off quickly, export everything again. I didn't unreal also. See how easily we can make some changes like this. The next thing that I'm going to do is let's create a different variation for our lighting. Click over here again and wait for the lighting. Yeah, now it is loaded. This is back to our old project only, so let's just hit Control S to save our files in our Substance Painter also. And I will just close substance painter for now after saving. Alright, so now the save is done. Let's just close this up for now. Now we are back in unreal and I want to create a separate lighting setup for our scene. Some different mood and some different colors. What I will do is instead of making changes in this particular level only, let's just right-click over this level one. We can just duplicate this, rename this two level to save selected and open up our level two so that our level one remains the same because I don't want to make any changes to my life. One final scene because we have everything perfect in this, and I think the lighting looks very good and the camera setting and everything is fine. I will create a separate level two for me to work with a different type of lighting. So let's start. All right, guys. So the first thing to do is let's change the position of our directional light. I will right-click over my camera and pilot. Then let's press control plus L. And this time let's go for a daytime scene. Again, you need to experiment with this a little bit and try to find the best position for the sun. I think I would go with something like this. I think something like this would be fine. Let's adjust the post-processing a little bit to match with our scene. Select the post-process volume, open up the blue. I think the value of two over here is fine. Or the exposure, I will reduce the compensation a little bit. 1.21.3, just to make a scene a little bit darker. Next, all of these stuff that we edited earlier remains the same. The vineyard and ability. Not only thing that I will be changing as the white valid, let's increase it to 6500 so that it is a bit more yellowish and enable tint for paint. If you decrease this, it will give a greenish color tint to your scene. And if you increase it, it will give a reddish color. So let's set this to 0.15. All right, next thing is I will select the exponential height fall. Let us increase the fog density to 0.020.02. The directional light intensity to 15 only. Select this thing, the global foliage actor. Let us increase the season brightness. Do something like to let the trees are more bright. You can reduce it a little bit if it is looking weird, Let's set this to 1.5. Yeah, I think this looks better. One more thing that we can do is select the volumetric loud. If you see these clouds over here, right now, they're not really visible properly. So let's change some of the settings. We can increase this layer bottom or altitude. See, let's set this to eight. You can change all of these settings to find the perfect. Alright, so I think this is much better. And you see, we have created a completely different scene with a different lighting. So let's save our project. I think this will be it for our course. In the next video, the next video will be the last one. We will do a little bit of compositing. We will take some screenshots for a portfolio and then we will finish with this course. So thank you guys for watching. I'll see you in the next one. 24. Final Thoughts: Hello guys, welcome to the last chapter of this course. So now that we have completed everything in this tutorial, I really don't have much to share with you guys anymore. In this video, let's just add a few more angles and take some screenshots. I will just duplicate my camera, press Control C and V. You can right-click and pilot this camera. And let's try to create a new angle. What we can do now is let's increase the focal length. Something like 50. You see we are getting this nice depth of field. Also, what you can do is you can again enabled draw the book focus plane and let's just adjust the focus point. Our main building. We can create one angle over here. Let's just copy this up again. I click and violate this tie to create different angle. Let's try to take close-up shot. 12 MM. Now this gives a completely different look to our scene. And then the earlier shorts. Something like this. I think. You can reduce the camera speed from over here to place your camera correctly. Again, enabled to draw the book focus plane. And let's just adjust the focus point. What you can do is you can copy both of these cameras, both of the angles that you created, this control C. Let's move to our other scene. Then paste them over here. You'll see we have got these nice angles. Next, what we can do is let us just take some screenshots one-by-one. I will close my content browser. Let's go to this camera. Click over here, high-resolution screenshot. The screenshot multiply two to take a screenshot. Again, I want to mention that only give it a two multiplier if you have a decent PC. Otherwise it can cause unreal to crash. You take care of that thing. Right-click and pilot this view. Let's take another screenshot. Next. Let's open up our other scene. It is delivered to actually wait for the lighting to load. Yeah, I think everything is calculated. Now. Let's just some more screenshots. But now what I suggest you guys that you should create some more angles. You can play with the type of the camera. You can also play with different lens settings and tried to create some videos angles and take some screenshots. Then you can use all those images for your portfolio for to showcase this project. Just click over here to access all your screenshots. Over here. You see we started from somewhere over here and you can clearly see how much we have created just by adding some lighting and changing a few things. Next, what we can do is let's open up Photoshop. I don't I really don't know much about compositing, but I will tell you one trick that I usually use. I will just drag and drop. Let's try. These two images. Now both of them are opened up. The first thing that I generally do, and sometimes the only thing that I do is go to Filter, Sharpen, and select sharpen more. And as soon as you do this, you will see all your edges and everything is now pretty sharp and the details pop out even more. So it adds a lot of effect to your day. So I suggest you should go over here to select sharpen and select sharpen more. If you just press Control Z to undo and then press Control Shift Z, you will easily JCB change. And the difference that just doing this simple command, it can create a lot of difference. Other things are you can go over to image adjustments. You're going to adjust the brightness contrast. If you want to do some changes later on. You can check the preview from here. You can also change stuff like vibrance, hue, saturation, color balance. One more thing that I use sometimes is selective color. For example, you are, for example, you're not liking the color of all these leaves. Most of the leaves have the yellow colors to select yellow from here. And you see, you will see like, you can change the particular color, like only the yellow color from your image. But I rarely use these types of features. I just use the sharpened feature. You can try the sharpened feature over here also. You see the sharpened feature just makes everything pop a little bit more. I think that isn't necessarily to do rest of the things that are really optional. You can also change the sky over here if you want to, you can go over to Edit and select Sky Replacement. And you will immediately see this guy will change. Not perfect, but you can use these settings to shift agent failed to properly match both of the images. You can click over here and choose a different sky. This is also pretty handy tool. Over here. You can see it can cause some issues. It all, it's almost perfect, but over here I find it is looking kind of weird. Now you see it can also cause some lighting issues because right now the light is coming from over here and this guy is looking like completely different. You should pay attention to those things also. Guide with this one only. I think this is for this course. Thank you for watching all the videos and I'm glad you made it till the end. I hope you learned a lot from this course. From here on out, you can try to enhance this environment even more. What you can do is you can add some more props over here. If you go over to content and Quicksilver, just search for Japan in this section. You will find a ton of props in the 3D assets you can use in this particular project. But I'm not saying to use the assets directly from over here because then you won't learn all of the things. I suggest you should create some of the assets on your own and then add to this scene. I'm sure that all the things that you have learned in this course will translate to all of those assets and it will help you in creating those assets. You can also drive, like create different lighting and try to create different mood and atmosphere for your scene. You can also play with like the trees, the global folio ejector. You can select it. You can increase the saturation and you can see it gives it a completely different directories. I suggest you play with all these settings and things that I've taught. You. Add some more props and lighting and everything. So thank you for watching this. Is it from my site? Thanks, buh-bye.