Game Art: Learn to Create 3D Art for Video Games | Tom Hanssens | Skillshare

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Game Art: Learn to Create 3D Art for Video Games

teacher avatar Tom Hanssens, Professional Technical 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

11 Lessons (1h 45m)
    • 1. Introduction

    • 2. Prerequisites

    • 3. Planning Your Asset

    • 4. Blender Basics

    • 5. Block Modelling

    • 6. Low-poly Modelling Part 01

    • 7. Low-poly Modelling Part 02

    • 8. UV Unwrapping

    • 9. Texturing Part 01

    • 10. Texturing Part 02

    • 11. Presentation

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About This Class

Hello everyone! In this class, we are going to learn how to create a fully-fledged 3D game asset from scratch! Here you will learn the basic workflow which includes:

  • Reference Gathering
  • Modelling
  • UV Unwrapping
  • Texturing
  • Custom Texture Masks
  • Presentation

If game art is something you are interested in this will be a great launching point for you to dive in and check out what it's all about!

Meet Your Teacher

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Tom Hanssens

Professional Technical Artist


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1. Introduction: Hello. I'm Tom and I'm a three D environment level artist from Australia. And welcome to my class. On game out, he will integrate three d game message from start to finish. Fever wondered how game assets from your favorite games are made, like the swords that shields that cars. Then this is where you can learn with basics to create those things. So we're going to dive through the modeling, the text during the UV, unwrapping, all of that good stuff, even the presentation. See, if you're interested in game art as a career or even just a hobby, this will be a great launching point for you just to dive into the little work flows and see if it's something that you're interested in. Now I'll be creating an executioner's sword, but you can make any soldier one even any asset that you want and just use the principles that I teach you to create it. All right, so I look forward to seeing you guys in the lessons helping you out, seeing when you create, and I'll catch you in the first lesson where we'll find some cool reference for our asset right? See that 2. Prerequisites: Hello, everyone. And welcome to the class. So before we get started now, they'll just be two programs that we need to get to create this. Ah, game asset from start to finish. So 1st 1 is free, is called blender, and you're going to want to just look up blended 2.8, and it'll dark you to this website, and then you can just click on download. The next software that we're going to want to get is called Substance Painter. Now, this is a paid software. Um, it's a subscription based software. I think it's like $20 a month. Um, but you can try it for free just up here. Try for free, and it will be a 30 day trial. Um, and then you can decide if Gaymard is something for you. So just remember, Teoh, I guess cancel your subscription afterwards because, you know, these companies like to do the order renewal sort of stuff. Um, so just remember to cancel that one. If you don't wanna be pain sneaky $20 a month, all the time. All right, So once we have these two programs will be ready to jump straight into creating our model 3. Planning Your Asset: hello and welcome to the first stage of the process where we will figure out what lovely thing we want to create. The task for this lesson is to find a bunch of interesting reference images showing off different parts of the object and then to compile them into a nice ah collage like this one so that we can always refer back toe all the inspiration that we found when we're creating here are a few good things to think about when grabbing your images. Um so a variety of smaller details like these for inspiration when we're creating our own a few of the general form to help us get some awesome shapes going, Ah, one or two author graphic images like these. So these front on images really help us to nail down the scale and proportions of the asset when we're creating them in three D. And then finally, a few material references like these ones. So when we're text oring, this is what we're going to use as a ah reference to match this sort of Look, um, I quite like this ancient sort of looks that I think will go for that one when we're actually in the midst of creating it. So head on down to Google images and just stuff finding out as much as you can about the asset. Feel free Teoh Visit websites. Ah, that they may just come from like this, for example, as, ah, they often have a lot of like similar ah images of the same vein, and that could be very helpful. So good luck, and I'll see in the next lesson where we'll cover the basics of blender. 4. Blender Basics: Hello and welcome to this lesson where we're going to cover the basics of blender. If you already have a general idea of how the program works and you're comfortable modeling basic stuff with it, feel free to skip this one. But if you're a complete beginner and want to know how to three D model, then I will teach you the basic things you need to know when you're just starting out with his program so fired up and you'll be greeted with this screen right here. So first thing you'll want to know other basic view port controls. So I had to rotate the camera. You middle click with your mouse wheel and drag so spin and Iran next to zoom, you can scroll Oh, you can hold down control and then drag as well with the middle mess toe pan. Hold down the shift key and then middle mouse and then drag and away we go. And now, finally, if you get lost out here and you can't find your way back to your prop or whatever you're doing, just press the home key on the keyboard and with Beck. So this is what's called the perspective you. And this is how you would don't really view objects in real life. Um, but what if we need to look at it in a North? A graphic view? Well, we can press five on the num pet and there we go. Now we're in a north a graphic view and the other numbers on the lump had changed the ah plane that we're looking at. So if you press one up here, it says front both a graphic. And if we press to it rotates Ah, on a north a graphic access press three. It's Arrieta lithographic press four, and it rotates. Press six, and it rotates and you press seven. Top eight No. Nine is bottom, and then eight will rotate it, okay, And then just press five and the number two exit that. So now, selecting an object. You might see that this cube is highlighted in this because I've selected it. And I believe in blender 2.8, which is what I'm using. Um, left Click Select is the day phone. But if not, um, go down to edit preferences and then in input, select with left, just turn it on and and save the preferences. So, um, to select stuff, you just click on it very easy with an object selected. There are a few main things that will be wanting to do it. So first thing is moving it. And to do this press G and unjust movie mass around and object will follow it around. And then to finish the move left click Teoh. Ah, cancel a move. You can right click and it will go back to where he started then. Of course, the undue controls it. Okay, The other thing we want to do is scaling so can scale with s. So the way that I remember move is grab like J for grab. As for scale, of course. So just ask. Drag your mouse around it, it'll scale. And you can also scale with, like, past the bounds of the view port. And it'll keep going like your mouse snaps back to the other side. And you just scale infinitely And, of course, left quick to accept it, right click to cancel it. And then the next thing is rotating. Pressing our and you can rotate the object. Same left, click, right. Click cancels. Now those are the main things. But ah, you may think it's gonna be hard to rotate my cube perfectly if it just rotates around a random weird access. So what you can do, she press are and then you press why and then it snaps to the Y axis. Well, you can press are in the impress X snap to the X axis Now, interesting you can do is you compress Ah, and then you can press shift X And now it'll rotate on the why and those that access So it excludes one access. This works really well if you want to scale something. Ah, wider, but not tolar. He just shift Zed and it'll exclude the set access. And now you can ah, scale it on the X and y axis. Now, this works, of course, for moving and rotating as well. So g shift X and then moves on this plane. What we're in now is called object mode. So this is great for for an example, if we have a few cubes, how we can select some and we just can't do what we want with them. But Teoh Ah, but to change and objects form and mold them into different shapes. We have to enter a mode called edit mode. To do that, he can press tab so pressing tab you can see object is highlighted and to select everything or day, select everything. He can double tap a two day select and press A to select everything. So a foe is how I remember that one. So now we have a few more finer controls with object, and our objects are always comprised of three main things, and the vergis ease edges and faces to switch between Vergis, ease edges and faces. It's 12 and three on the keyboard, respectively. Not on the num pad just above the letters, and you can alternative we up in the top right corner. Sorry, top left corner of Thievy Port. And there are some little box indicators. If you don't like pressing the numbers on your keyboard, which change which manager in So with any of the selected, the scaling, rotating and moving all apply to these so pressing G we could move the face around pressing s scales, pressing our irritates and of course, weaken confined them to access a swell, so we can also select more faces or more edges by holding down shift. And then you can grapple of these. And you can also de select by holding shift so the to you main tools will be using when creating our per up is ah, adding more edge loops to to get ah, more resolution to work with and to do that press control. Ah, you can see a yellow line appears when we hover over an edge. If we scroll on our mouths, will we can get a lot more and then to select to accept it, weaken left click and now to ask if we want to move it. If we want to move it, we can. But if we don't want to move it, just right, click. Now we have a cube with a lot more lines toe message. We can make it into something weird. So the other two were going to use is the extrude tool, and that is ah, a on the key boat and then just moving mass and know what you can see. It does is it grabs a face and it pulls at Atwood's. It even extremes it, if you will, so you can see with these tools, we can pretty much create most basic shapes that you would need for any simple thing that you want to create a few other basic things you need to know. Ah, deleting and creating objects so we'd anything selected impress X to delete it. So you press X and it comes up a menu, and then you can either present a day or just click delete, so that works with cubes as well. I also works in edit mode. If he's like to face, you can, uh, delete the face. Or if you want to just delete these edges you created, you can press X and then dissolve. The edges may come, but I don't need to worry about that just yet. Now, what if the thing we're creating his a pipe, we're not going to create a pipe out of a cube. We're going to create a pipe out of a cylinder, so to create a cylinder, you press shift a Teoh, add an object, and now you have with this giant menu, you can go to the 1st 1 which is mesh and then go to cylinder. Well, then, now we have a cylinder inside. How Keith So after you create your cylinder, there's also settings you can change directly after you create it. And if you start moving it still new around they you won't have a chance to change these. But these include, like the resolution of it. And, ah, the heightened depth and etcetera. But I'm safer. You delete a cube, you can see. Ask Celinda. And of course, same controls, work tab, edit mode. You can grab phases, etcetera. No, that stuff. So when Ukraine object, he generally always going to want to do it in object mode. So we create a cube, and now these are two different objects. If we create an object in edit mode and we move that, you can see that they're treated as the same object now. So we have a cube, then we have l cylinder and cute. So there are situations where you'd want this. But, um, for the purpose of what we're doing, we don't really need to do this. All right, so those are the basics of Brenda. Um will be like building a bit more upon that as we create now, actual asset, which will be doing in the next lesson. So just get a feel for the program, Really? Just get used to rotating around a three D space and panning and zooming. And then once you feel Constable, you should be ready to start to model the basic object that you've decided to create. So I look forward to seeing you in the next lesson. 5. Block Modelling: hello and welcome to this lesson where we're going to block model our asset. And in my case, it's going to be the executioner's sword. So with this process, you just going to create the basic block out. Ah, now the purpose of this is just to get the scale and the basic. That's very basic payment of shapes down. So do no detail really whatsoever. So first thing we actually want to do is get our reference image into blender so that we can make and model super accurate just working a photo. So the first thing you want to do is pressed five to go to all the graphic mode, then one to go to the front or the graphic shift a image reference. Now I just find it and then load it, and now it's in here. Today may notice it's sideways, and it might be easy for us to create it if it was upright, so just click on it to select it are. And then why toe? Keep it on the Y axis and then just press 90 or, um, toe rotate exactly 90 degrees, and then you compress minus to, uh, right at the l A way round. So now exit Ortho graphic view and then just move your camera and then click on it and then just present G and why? And now bring him back a bit so that it's not directly over to keep. So first thing we're going to do is match the shape of this Boyd. And we're just going to use our basic cube. Um, and feel free to delete this light. And this camera, just it's selecting them. Next. Delete. Okay, Now click the cube. Gonna scale it first down on the wire, make it nice and thin like a blade, and have press five and one again to get back to the front s X, Make it nice and thin. A sex. Correct, huh? So now ah, Press tab Dan Data mode three. Grab this. Go back toe front view So that if you don't like pressing one on the number head Cool, Tricky conduce. Hold now, old the old key And then middle mass drag and it'll snap her between views. Okay, so now with the top face selected just President Jean and said Bring it up here. And then with this bottom face elected CI then said, and bring it down there. So now that's how Blade blocked out nice and easy. And now we can create the handle promo and the hilt. So I think we'll create the you the guard killed. That's a healthier The hills out of this cylinder says Shift a mess cylinder, and we're just gonna turn this into, Ah, probably eight Vergis. He's just so it's not super high resolution. And so now we're going to go are why 90? Drink it down. G said, Bring it down. And now I'm just going to match this basics shape and then s X damn now Time for the handle . Think we use a kid for that one? So shift a Miss Cube cheese it. Bring it down. I drink a damn. May be shrinking a bit on the y axis because I think they're a bit flattened. Usually is, uh, handles G zed and again CEO images not like super assented, but it doesn't have to match up exactly as long as we're getting the general shape down. So then Tab three Select Ah, this face back to the front view. Jesus said, bring it down to the public click, and now all that's left is the formal. So it would just make that out of a basic cylinder. So tab to exit at a mode shift a mesh cylinder and we keep it light rays again. Ah, G said, bring it down s shrink it down, she's said, and then go back to the front of you And that will just about do it really, so it doesn't look like much now. But what we've done here is we've matched the scale pretty well to that with a graphic image. So when we actually go in and model the a few more detailed forms of the sword will know that our scale is correct. And ah, it would just make it easier for us to build upon this rather than going straight into the detailed modelling. All right, so once you have your basic block out finished, um, I'll see in the next lesson where we will get into a little more detail without low poli model 6. Low-poly Modelling Part 01: Hello and welcome back. Now that we have our block model finished, what we're going to do next is the low poli modeling stage. So what this entails is trying to capture the more subtle forms and end up with a more accurate silhouette of the model that we're trying to create. So this is where we're going to be using a few more of the tools that blender has to create a model, and it can seem a bit overwhelming at first. So you might have Teoh repeat this video a few times to catch all the things that I'm doing and why I'm doing them. But I'll do my best to explain them as I go. So without further ado, let's get started. We're going to want to create this blade first thing. So, as you can tell, our thing is just a cube. So we're gonna want to have a nice sharp edge and this curved top. So let's go ahead and do that. So first things first, let's enter animate with tab and then control. Ah, at a few more of these lines in click right click and then 51 And, uh so what? These edges with to hold down shift click button aspecto one G said. Bring that up and then grab this face with three. Then click Cheese said, Bring that up now. Quick trick. Um, if you're finding it hard to get accurate, um, movement like it's just moving too much or too quickly. You can hold down shift and it'll do you like a slow motion move. It's now we have this curve in. Next. What we're gonna want to do is get the shop edge. So first, I think will select everything with a press s. Then press. Why just make it a bit thinner. And then what we're gonna do is get a nice bevel on the edge. So press control, uh, click. Drag it up. How, Dan Shiftless inaccuracy. Click there and then do the same for the edges. Here, click right click control. Ah, click and then right click. And now going to so in three D modeling there's 100 and one ways to do the same thing. So the next step for me would be to get like, these Vergis, ease along the edge and merge them into the middle so that we have a sharp edge running along the side here and down. Of course. Um, so one way to do that is select them old M at center, go to the next one old M at center, etcetera, etcetera to ego around the whole thing. But what you can do is pressed to to go into edge, mode, de select everything, double tap a, then just press control shift, fault all of them and then just click on this edge. And now we've selected all of these edges that run around the side. And now we don't want to get rid of these, though, because this needs to be This can't be a sharp edge, because that's where it connects to the hilt. Um, so we're gonna shift Zed, and this is going to make us going toe y frame mod alternative. We can click up here to get enter. Why? Frame mode. So now quick. These will shift the god damn it shift. Click these edges to de select them. And now she said, we're going to press X, and then Zo Veg is actually the press hex. And then we're going to hedge collapse. That's the one there we got now if you look, we got a nice shop edge on our blade. Nice. So for this bottom part, I didn't want to create exactly likely swarms. Odor is going to bring in a reference for the shape that I would like to create. So this is the shape that I it was planning on Ah, modeling my sword after. So I'm just gonna put it over here so we can look at it and ah, we'll see that this is kind of like a ah, a cube that goes into a hexagon that goes into a cylinder. So a relatively complex shape for a beginner. Um so we might just simple fight a bit. But I really do like this sort of shape that is happening here. So I'll show you how we can get that first thing. Probably going to want to delete this cylinder and replace it with a cube. So let's go ahead and do that. So now that that's done, I'll show you how we can achieve this cool shape that transfers into a cube. So we're going to do is and to edit mode, and I'll show you a problem that some people might be facing. So if I was to use a tool code bevel which devils and edge like this, you see that it doesn't bevel uniformly now. That's because when we scale an object, it well, it does. We have pigs do it. So if we want to set this as the shape of the object, we goto, object, apply rotation and scale. And now you notice if I Babel the same thing now it's a like a perfectly human in form uniform uniformed devil. So with this bevel tool, we're going to create that cool shape. And how we do that is first control. Ah, scroll up. Once click right click and now to split them apart of it. Weaken do s for scale on the x axis and then drag it out a little bit. Let's just look at our reference to see how far it goes out. Just a bit past the blade, which is a right. So now three a knife. You remember to select the edge ring. It was all the buttons control shift, haute, Click on the edge. Make sure you an edge mode to let's get control. Shift wrote. Click on the edge. Yeah, Control shift Click on the edge Now for the bevel you press control be. Now you drag your mouse out until we get a pretty cool hexagon shape just like that. Now you can see we've pretty much achieved this shape pretty easily. One thing I want to mention, though. This face has 12345678 sides. Usually when we make game objects, we want to keep the faces 23 sides and full sides Otherwise animated, they're gonna hate you. Or, um, you can end up with some weird errors it quickly to do that. It's just a control t and it'll triangulate it, but that looks a bit messy. So we compress k select the Vergis e case, the knife tool, by the way. And then so, like the other word ISI, quick enter. Okay, click, click and toe. And now each of these faces is full side. Now, I'll just do that for the rest of the faces. Now that I mentioned that, um, faces tend to be 3 to 4 sides may be wondering about the ends of cylinders and stuff, but I'll show you how we usually cap those or, um, fix those later on. So now we've got these cylindrical bits on the end. And so to create these, I'll show you how I would go that it. So first you want to create a cylinder with its center directly on here so that we can line it up perfectly with the ends. So to do that shift s and then curse it to selected. And that'll move this, the objects spawn on this cursor and then shift a mesh cylinder. We'll make it. Ah, actually, 30 two's okay. And then our why 90 Drink it down. So that fits. And then she well, uh X and don't leave it over here. You can see it's directly centered because we moved his curse it here. Now, if you want your cursor back here, um, you can press shift, see? And it will move the cursor back to the center of the world. So now we're just going to create this basic shape. Not too difficult, This one press tab control, Uh, and at a few more edges, and we just have a look at it. It sort of goes in and out. I might add another edge here, so test Teoh test. Cool. Okay. And then we'll grab this face, make it a bit larger. Yeah, just sort of tweaking it until you have with the shape. It looks quite cool. It might be a bit extreme. The that curve. Yes. Look, I'm pretty cool. So now to get this to the other side in the exact spot what we can do, it's set the origin or pivot point of our object to the center of the world and then use a tool to mirror it across. To do that, click the object and then object Set origin to three D cursor. Now, this is the three d cosa the thing I mentioned before. And so now you'll notice if we rotate this object. It rotates around the center, even if we scale it. Well, if we move it, it just moves. But I think you understand. So rotates around the center so we can do now go to 1st 1 a, um, apply rotation and scale. And then we go to this spanner modifiers had modifier, then go to mirror and then you can see it's perfectly across here. I mean, we can just apply that and we're good to go now up to the handle. So all of these little things that I've done it might be a bit to take in, so I'm going to split this low. Poli mumbling into two parts. Um, So just to recap, we've merged the edges to create a bevel. We've Devold the edges to create this cool shape. We've learned to that cords thes full sided shapes and tries. He's three sided faces, and we've also learned about mirroring this object. So when we go into this handle, um, well, look at getting some of these cool metal bits banding across the leather and then making this weird little lack both shape on the end. All right, so feel free to just repeat this video a few times if you're not quite understanding it. And then if you're really having some trouble, just mentioned your problem in the in your project, and I'll do my best to help you out. All right, I'll see you in the next one 7. Low-poly Modelling Part 02: Hello and welcome to part two of the lawyer Poli modelling process where we're going, Teoh do the handle and the pommel. So let's just get stuck into it. I'm going to do this shape for the handle and I'll try and get these as separate parts and I'll show you how to get that. These are metal bits. Okay, So first things first, Um, just going to use some of the modelling techniques that we've gone over before adding some more loops. And then what? Disconnected. Try and match this shape here. So this go ahead and do that. So all clicking, too. Select the loops and it sort of starts off wide and then goes smaller tape is in a bit, so just sort of I've bowling. Okay, so that was a little bit finicky, but we got there in the end, and I think we've matched this shape. OK, so now going Teoh, get these bands coming across. So the way I want to do that is to make them into a separate object. And so it looks like the leather is kind of talking in underneath the metal, so I'll show you how to do that Okay, So what we're going to want to do first is put in a loop about the thickness of the metal bear that we want. So about this thick, I think so. Just control our click. And then we will press 3 10 to face mode, adult click to select the ring. And we also want this little bit up here, and then we'll press pay to separate by the selection. And now you can see that this is its own thing. This is its own thing. And then we'll just do the same for the bottom. That this stick, I believe. Yeah, and then we'll select it. Select this guy p selection. And now we have each separate part. It's not what we want to do is filling these holes because we want to bevel them, Um, so that it looks like the the leather is talk again underneath, and I'll show you what I made my left in a moment. But first, to fill the holes, um, we're going to select just one of the edges, and then you can press f and that will fill the hole. So, as you can see, we now have the face where the hole was, and we just do that for the rest of the objects. Okay, it's now that's done at just looks sort of the same as it did before. So now we need to add a few devils to make these little sort of subtle curves in between the forms. So it looks like it's sort of bulging out and then coming in here. So first thing going on to do select all these on an object, apply rotation and scale so that we don't get any weird beveling going on, and then we'll start with this top on here. Also, you can see that my camera isn't rotating around my object nicely. It's sort of rotating around this random point in space. If you want the camera to focus on an object, just press Ah, the decimal point or period or full stop on the num pet. And now them. That object is centered, and that's a really good trick. Uh, help you speed up your workflow cause you can get a bit annoyed having your camera's been around something random. Okay, so now with this face selected, we're going to press control be, and then bevel it and then you can scroll to add another. Um, I believe to make it a bit softer, and then we're going to grab this one. So, like this face control be and then we're going Teoh, shrink it down A Ted And then Jesus said, Bring it up a bit And then with this one, you got that. Increase it a bit and bring it down so I scale it up and bring it down a bit. Now you can see it Sort of just like talking in there. And so we do the same for this 13 Click on the face controlled the crease. Ah, like that. And then we'll scale it up. Move it up with this one. If I click, click on it is Ah, just do the same. So grab this face control be and it will scale it down and leave it down A dead I said now feel this pretty cool looking handle going on, But you can see the edges along here. Ah, super sharp. Where is here that quiet, soft So just going to go in and do a bevel, but on the's edges now. So we'll select all of these faces tab tent edit mode to 10 toe edge mood. Old click to select the lime shift boat. Quick to select more will select all of the edges and now control the on and we might do it about that much. And that's looking pretty pretty good. It's now Last thing left to do is just this pommel. So So now all that's left to do is the pommel, and a block out is a little too low resolution. So I think I'll replace this ah cylinder with one that is a little bit high resolution. So shift a mesh cylinder that 24 is good on. Then we're just going to delete this and replace it. This one. So now we have to match these. We'd light bulbs or the shape to do that. We just need quite a few more loops, um, going around for us to work with. So we'll add those in click and then right click going to the front view and hold. Just just press two to enter edge mood. How adult click on the edge and then just ah, shrinking a lot of these until you end up with the desired shape so just out quick and then s and bring it down. And then just do this for all of the loops until you have a nice lightbulb shape thing. That's bull. My spread. It is looking a little boldest, though, but they are quite both this on, um, the reference images. But I'm not sure I quite like that. So I'm just going to shrink it down without changing its height. And to do that, you process and shift is dead so that it just shrinks down on this access. I'm just doing a little bit not just ringgit down the height of Tad. So doesn't look too stretched out. Uh, a little more. I just think I like the look a bit a bit smaller. Looks a bit more balanced. Yeah. So, just whatever you like, I think that looks quite good. And so now pretty much modeled the entire source. Now, all that's left to do is, um, to unwrap it, and then technically, it is ready to be textured. But there is another extra step that I'd like to do. Um, it is optional, and that is to get some extra detail in. So I go into more detail of that step in the next lesson, where show you evey unwrapping. And then you can decide whether you want to go through with, um, the more detailed stage or if you just like to hope straight into the text string. All right, so I'll see you in the next lesson. 8. UV Unwrapping: Okay, so welcome to this. Listen, where we're going to cover you, the unwrapping. So in this process, this is basically getting the mesh ready to be textured. And to do that, we need to lay it down flat on a two d surface. So the best way to think of this is like shape nets, um, in geometry. So if you think, um, how you might construct a cube made out of paper, it might look something like ah a t. And then you just fold down the edges and then glued together. It's much similar to this, so I'm just going to demonstrate with cylinder first, because that will be the simplest thing. And then we can move on to doing our actual item. So to get into UV editing mode or, ah, the window, you can either click in this corner and drag across and then click this drop down and go into UV slash image editor four. He can hopes just get rid of that. All you can click up here for you ve editing. So to unwrap an object first, you need to select where you want. This seems to be so. That is where the object will be cut. And this will make sense. Um, in a moment. So, for instance, toe unwrap a cylinder. We need to cut off the top, cut off the bottom and then cut one of these sides knowing press control, a mark, Same press A you unready and we can see we've got no island's. Here's their code. So then just press a on everything and then just press you to unwrap it again, and it'll put it in this square where everything needs to be. So as you can see, these represent, um, the part of our model just laid down flat. So this is one of the caps. This is the bottom cap, and then this is Ah, the part that wraps around. So you might think like, ah, often when you're unwrapping, you might forget a scene here and there like, maybe I forgot this one, and I forgot this one. But it's not that big of a deal. So if you unwrapped this, you'll notice Oh, something's going awry. It looks very strange and warped and gross. Um, but you just have to select the seams, fired them mark seem, and then just you unwrap it again. Make sure you have everything selected when you unwrapped. And there you go. So I'll show you better way that you can see how this is working. So if I just pop this material on it and then go to look, Dev, you won't have this set up up Just set this up before him. You can see. Just imagine. Um, hold on. This might be better. Okay, So now if I move these islands, you can see it is basically projecting the same space, the same ah, texture as where the island is onto the mesh. So, for example, you can see this little cross section here is this little cross section here and where we move it where it is. And that's the same with this? No. And of course, this too. And they're also very attainable and all that stuff. So it is important that you have your models fairly flat. So what I mean by this is that, um if you imagine a person, obviously you can't lay it down perfectly flat because we have a lot of organic shapes. Um, but if it's too warped, like, for example, if we start warping our island. You can see that the texture also it gets weird and walked and excite getting these errors like this Or like if it's scaled incorrectly, the textual start to go quite strange. Looks like Ah, a black hole. Okay, so Ah, they are the basics. Just Mark seems And then select everything you and unwrapped and you'll be on your way. All right, so first thing want to do is isolate us. L apart there were unwrapping said it makes it easier for us to see what we're doing, So just select it control. I invert the selection and impressed H and that everything's hidden. So go to UV editing. And now we're going to want to split off age side of the blade. So holding Olten clicking selects the whole edge. We can mark that as a scene, and then we're going to delete all of these faces. And now, if you can imagine this side and then decide, I'll just be split off and they lay down relatively flat. So unwrap in every co so it looks like it wants toe. Pop them together is one whole island. For some reason, I think there might be a bit of a bug, but we can get around that by just so pressing l So with face might selected hover over one section, press l. And it'll just select one island. And you can just move it a bit. And then, ah, now they're separated. So just move this up here for now and move onto the next one. So old h to reveal everything and then select the next part we want to work on and control . I h So mark these and will cut this off here. And well, cut these on and this one's a bit weird. So what we can do is actually clear. They seems here it clear. Same control. A clear scene, Uh, that clear scene. And then we'll mark these one says scenes, knock same band and ban them. Stand and and control the mock seem. And now we just select all of these. So now these should be an island off their own. This will be unwrapped with this cylinder type shape, and ah, that should work out fine. So its press a you unwrap. Now, um, one thing I have to mention is that before you start unwrapping select everything. And then do object, apply rotation and scale because otherwise, yeah, unwraps will know Have the correct scale. Teoh your model double your stretched and walked like your Bev als. Where before. If you try to bevel with without doing that, so apply rotation scale. If anything is going wrong, just try doing this first, and it usually fixes it. Okay, so now we've got this unwrapped. Just press a and you toe packet nicely in the square and then would just drag it down here for now. Now let's move on to these cylinders. So select, um, control I h. And then well, just select these edges. Select these edges. Control e mock. Seem so like these, actually, Maxxim And that will be good. I'm rough. That and no, just breathe over here and then we'll see. Like this guy do the same July h and this one will be pretty easy to, um it's like this one. I will. I think this face is actually hidden. So delete that one. Make it a bit easier for us delete faces, and then we'll cut this off and then we'll put a no, It looks likely, Mr. Devil. Here I just put that in real quick control. Be that in there. Good enough, Maxine. Cool. So now a you a you and you can also, if things don't look quite right just to you, you can change between angle based and can formal informal tries to keep, um, the shape of the object more. And I think angle based tries to way down flat more. So in some cases, I believe you're going to want to dio conform or more like this one. Looks like we got a split here. Where is that coming from? This clear this seem And then just unwrap it again yet So we're with stuff that's beveled. I like to do conform all. It just keeps the shape of it better without stretching your violence too much. So we'll just move to safer here. Old h click on this one. Control. I h click on it tab. And now we'll split this son off. Split this one off control a mock seem and then will at a same in one of the sides that can revel itself A You unwrap. Hey, you There we go and we'll just move it over here. Old age two more things to go Control I h Tab on this guy. Click on this guy, Joe Imach seem and we'll click on this mock seem a you unwrap a you. And then we just moved over here built h click on their same deal. Now, this is a bit of a weird one. Since it's bulging, it looks like it won't be ableto lay down flat too easily. So I'm going to do is cut this off. This little number got this cap off market as the same entreat This is its earn cylinder. And then I'll cut. I think there's a face it. Yeah, we don't need that. And then I'll just cut a a line that goes all the way up and just treat This is a weird cylinder, so it will stretch a little bit, but it should be okay regardless. So a you unwrap. Hey, you. So you see, we got this weird shape for our bulbous lightbulbs sort of thing, but that should be okay. So now we select everything edit mode, okay? And you it will put everything together. Now we want to add a bit of a margin between our island. So not everything is shoved in the same Kona, um, which It'll just spread them out a little bit. So you can try. Maybe 0.1. No, that's good. So one thing with stuff like swords, you have this one super large bit and these one really small bit. So a lot of the space is just taken up by the blade. And then there's just all this empty space that we could use for texture resolution. Um, for these now, usually when you create a probe, you're going to want everything scared correctly like this. So that, like, for instance, the characters hand doesn't want to have, like, a super big island compared to the face, because now the hand doesn't need extra extra extra daito. But in this case, we can, um, just increase the size a little bit because all of the items are so small. Just toe make use of that, um, that space and get some good text resolution going. So I just selected everything and then as to scale it up and g to move it. Of course. So this is the stage where a lot of, um, things can go wrong, but if you do end up getting here right here. Then you are ready to texture your object. Okay, so now with model unwrapped, um, there is only a few things left to do. So the first thing you want to do is select everything and in control J. And now the model is its own singular object. Select everything. Control F and shades smooth. So everything's gonna look a tad strange now, like we've lost our cool, hot edges here, and ah, everything shaded of it's strange, but we can do is go into the object data this tab here normals and then auto smooth. So now what that's done is we've lost all those hard edges on services that are mental. Looks smooth. But we've kept our hard edges on services that I meant to look hard like these and the edge of l sword as well. So now if you've done that, you are ready to move on to the text during stage. So, um, toe actually export your model as well. I forgot to mention, um, just selected file export and then you want do FB X. That's the standard. Ah, file for a model. Then click on that and then down here, click on selected objects and then just that'll only export you have selected. So we have selected out sword and then just go into wherever you want to save it and export it. So I'll export mine as the low partly. And now we have finished modelling and unwrapping an object. So all that's left to do is texture it and then present it. So we're getting onto the fun stuff, the creative stuff now And, uh, you looking forward to it? I'll see you then. 9. Texturing Part 01: Hello and welcome to the text oring phase. So now that our model is ready, we just opened Substance Painter. This is what we used to texture, and we need to import on more into it. So let's do that file new and come up this dialog books. And first we want to set out document resolution to 2048. So that's a two K texture that's just gives us that that just gives us a bit more resolution. Um, you can always changes as you go. Those who not important. Then just press select on, then find your fbx file just wherever you saved it. And then once that is loaded, just press OK And here we have our sword within substance painter. So the view poor controls for substance painter are different. A blender. So hooray! Another thing for you to learn, But so just these ones are pretty simple. Just hold on, bolt. And then it's just all the different cliques do the different things. So you left click rotates middle click pans. Reichel, Exume and Scroll is also owes him. So this program works a bit like photo shop. We've got layers over here and these will make up our material. So what I like to do is split off each individual object into its own layer group, and so we can focus on text during those individually and getting them looking nice. Now, remember to have your reference image up as we do this to match that. So that's what I'm going to do first is split them off into the groups that they are. Um, I guess they're material groups. So if I bring up my image, so just this one here. Ah, lot of it is this brass material, but I'll make this sword a different one. So, like the actual blade a different group. Um, I'll make all of this, um, the metal bands and the hilt, um, and the pommel, a separate group. And then I'll make the lever a separate group as well. So to do that, just hit this Phil button to make a fill layer, and this is just gonna be a bit temporary and then click on it controlled G and will name this one blade, and then we're going to right click it. Add black mosque. So we're just gonna click enough feel layer in here and make it red so that we know we can see what we're doing. And then over here, polygon Phil, Over here, Mesh! Phil, I'm just gonna click on that blade. And there we go. So what's that? What that has done. It's created a mosque. So whatever is in this group is only going to affect this blade. So we're just going to do that for the rest of the things. So they help the pommel and the let the handle. So let's recap make a layer click on it. Changes color something green like that. Control G Right click at Black Mask and then over here, mesh. Phil. So this one's going to be all of this stuff. Stand them and we'll call this handle metal. Who? Hide that. And then one last one, my, uh, troll G call this lever, right click had Black Mosque and then go into polygon Phil Nashville, Click on that bad boy And then, well, just make it blue to know we can see we've got a live. There are things that up. But l sword just basically looks like a Lego toy. So what we're gonna want to do first before we start getting the cool metal and all that stuff in, we're going to do this thing cold baiting. Now, I mentioned it before as a pretty technical process, but when we're not working with a high poli asset, we don't need to do any crazy Ah, technical stuff. So over here, in your texture sets settings, click on bake mash maps who come up this dialog books now all the ones with an exclamation point. It's a mean that we need Ah, hi, Polly Mish. To create those, however, we can use our low poli mesh as the high poly mesh. So, um, I'll show you what this does. If you click on the usual a polio's hypo remains. Just click on that, and then we want a I guess. Well, we don't need a normal map. Ah, we'll get that will get. We don't need an I d map. We'll get the ambient occlusion. We'll get the curve. It ah will get donated that, Dhoni that so just the world space normal Amy inclusion and curvature. So these will help, um, when we make procedural textures, so dirt that gets into the little crevices and Edgware that gets right on the edge is making a curvature. And Ambien, occlusion and, well, space nor map are great for those. So the federal really lodge crazy jargon sort of woods. But if you just follow the steps, you'll start to understand what they do. So we just do that. Vacancies. Neil started doing some crazy business news press, OK? And so now that's plugged all these in here, and that's good. Okay, so now what we're going to do is just create a base layer off the metal of the material that we're trying to create and not worry about any crazy, intricate detail yet and just get a base going. So I think of it like painting, I guess getting a base foundation down before you start to add the needy, greedy detail into it. So I'm going to try and create this material and look quite close to brass, but we'll see how we go. So I just have this off to the side and I'll create it and I'll try and explain what I'm doing as I go. So I'm going to work on this part here, so first I'll get rid of this. Actually, I went, I will make it metallic. So scroll down here in the properties, you've got a lot, a lot of properties. So we've got a capacity, you might and have a pass ity. But, um, my default is said to have it. So we've got Metallica's well, so generally metallic is either set to zero or one because something can be a little bit metallic. It's either it's either a metal or it isn't so. This is a mental, um, and this change is how Go all see something is so our metal is not very gutsy, but we'll make sure we have some in there to capture a few of those spectrum speculative highlights and the height. Um, this is good for scratches and stuff like nothing shows up now. But if, um, if you were to have a lay on top, that was just like a line across here, if you move the height down, I'll start to push into the model on a new base. Color, of course, is the color, so you can also pick from different areas from a window. Even so, it's off screen at the moment. But if I drag this over to my reference. I can pick a color to get a starting point from and then I can figure out the color from this. I think it's a bit brighter. Yeah, it less saturated Bickmore, actually, that's looking pretty close. Pretty close to this. Nice. So now Ah, we're going to grab a nice leather for the handle. So I go into the leather one and in this materials folder down here, they would he usually have something like a leather. They've got lizard scales even, um, that's actually quite close to what we need. We'll see how that looks. I have a lizard scale, uh, wrapped handle that's actually looking pretty decent. So here you can increase the scale or decreases, and that basically tiled it. And ah, we'll see how a normal leather looks, but, ah, we might actually go with the lizard scales. So we've got let the rough medium grain, big grain. So this is generally what I'd usually go for would be the big grain. And we're just delete the lizard scales for now and we will increase the scale. So of Al Letta, that is a bit more accurate. Um, but I like the lizard scales. I think a with little visit scales Chuck that in there, It's good to have a bit of fun with it. You know, Chuck, some weird scales on your sword. No worries. So down here, we got the scale color, and we're gonna want this, of course, to be the color of lever. So a bit brown, maybe a little lighter. That's getting quite close to our reference there. Um, as is a little more red, I believe. And a bit brighter this park and be a little tricky. That's looking pretty cool, Ashia. So now we just need to do this, which is the sort. So go into the blade and we can actually control See this feel layer from the handle Quick on this. Delete this on control V and no, Put it back in here. And now we would just change it a little bit to be a little lighter and a little less saturated, because it is fading in the reference image and it'll end up looking quite cool if we match that. So there are our base materials ready. So in the next, in part two, I'll show you how to add dirt now just show you what that might do. So just if I just add a layer on top of everything and I right click at a black mask and a right click at a generator generator and then I go to Dio. So this fades off the ambulance and B and the end theano Ian inclusion map. And, um, this is what starts to really make him models Pope getting these sort of details in here. So this really grunge is it up? You can add it likes nice and really rough. And so if you hold down shift and click shift in right click, it will move the light. And we've got a pretty cool so going on just already with one layer of dead. So I'll go into more depth in that in the next lesson, Um, and will start out some really nice edge where some really nice scratches and it's just gonna look just it's just gonna be great. All right, so I'll see you in the next one 10. Texturing Part 02: So now that we have our base materials ready, it's going to be a lot of, um, adding a layer and then adding a black mask and then adding some sort of either a grunge map, a grand texture, even a ah like a custom and bossing texture or anything like that to just build and build and build upon the detail until we end up with a really cool design. So first thing that I like to do is do a, um so delete this dirt parts that I just do for demonstration. Ah, in the last lesson, first thing I like to do is a Edgware passed, So we'll go into the lizard, scales the leather one and will add a new layer on top and will make it really rough and note metallic. And then we'll right click at a black mask, and then we'll right click the Black Mouse and then at a generator, and we'll click on the generator and do metal edge where so he can see it grabs like the edges and like limits the layout of those. So if we decrease the contrast and decrease the level of way we can isolate it pretty much just to the corner's. And then we can add a bit more grunge. Yeah, that's looking good. And then the color of this should be similar, but a bit lighter and less saturated in the liver lever leather say we'll pick this color and then we will bring down the saturation and increase the lightness a bit just to get some nice way going on there already looking pretty nice. Okay, so we'll do the same for the metal and the blade, so we'll start with the handle. So the same principle. We can just duplicate this layer, right click black mask, click on the black Mosque, right click at a generator. Then we'll add a metal Edgware generated there. So then we'll get how base color um, make it well, much less saturated and a bit broader. And then so we can see it's starting to pick up on these little bits, so I might increase the roughness a bit. Yeah, And, um, it's really picking up on these, um, and bits. So just going to my mosque and turned down the level of oy. Okay, so it looks like, um, we might make these around it bits into its own Ah, layer as well, like we've done with the leather and the blade. So what we're gonna do, we're going to go into this mask and then change this from one 20 And now what that's going to do is exclude stuff from the mouth So you can click on this and this and this and now we'll just do the same thing we did. Lost lesson had a new layer at a black mask and then click on this this and this and then who grab this material control, See, and will delayed this control V in here. Okay, So back to where we started. Actually, copy this on a swell pace that in there and then we can just change the the wear level until it's a bit, um not so crazy on the looking A bit better. Cool. Thus Okay, so next is the blade so going here? We can probably copy this one too. So it's quick it control. See? Go down here. Control V can hide these lays cause and are working on them. And so this going to just turn down the way level a bit. We don't want it to crazy, but that does look pretty pretty good. So next we're going to do the same thing. But with dead, So did is generally above everything because it's the last thing that just, like, settles on the blade after it's been or damaged and what not? So, um, we'll make sure to keep the dirt layer on the top layer. So at this Ah, really rough bass co. Uh, um, we'll go just for simple brown and we'll go black mask. Click on the mask. A generator. Then at a dirt generator. I said, No, we've got this nice dirt, but you can see the grand cheer is tiling Quite obviously. So we got this splotch in this spot in this splotch. They're all just the same splotch, so we can change the grand scale to go down a bit. So it's less obvious. Change the debt level to be a bit less extreme. That's looking pretty nice, and then we can do the same for the rest, so we'll go into witness copy this, go into the handle metal control. They face that in there, and we can play with the dirt level. In contrast, I like it a little bit less here, cause I think it be less likely to accumulate on this part. And, ah, same deal. Put it in the ah branded handled beats layer Co That so I'm just double clicking on the layer to rename it Control the and, uh, will play with this. Be it something? Yeah, that's cool. Then we go Teoh the letter control. What's this? Over metallurgy. Delete that one Gov on and play with the dirt a bit. Get something on there. Cool. That's looking pretty nice. Said now, also, to view your light source from different angles. Hold down, shift right quick and you can spend the actual light around in the substance Pain to India . Nice. Nice, nice. Nice. Okay, so next we're going to add some scratches. So to do that, we add a fill layer, like before, but we don't want any. We do want color. We do want roughness, and we do a metal nous. I will just turn off the normal pass it the missive normal and a passage. Okay, so these scratches are gonna be super off. They're gonna be metallic, and they're gonna have a height going down a little bit, and they're gonna be very bright. Cool, So Oh, we might make them a bit less rough. Cool. Okay, so this isn't going to go in the leather because we want these to be metal scratches, so start with the blade. So put that in the blade layer underneath the dirt, keep the dirt on top, and now we're going to add a black mosque and instead of a generator this time well out of feel layer. Now, if you go into your grunge is here, you'll have a lot of different black masks that tile perfectly. So if we just go down to one, that is scratches. So we go some scratches rough. And I think we have scratches. Fine. Here. Um, I like this rough one the So put that in this slot words as gray scale, you can see because some scratches going on. So if we just, um, change the scale of this changes how frequent and held large or small. This scratches. So we like over something like that. We might rotate it a bit those so that tiling isn't so obvious. Change the balance, Have a bit finer and less scratches nice. Okay, so I might change this scratch material a little bit, so I do like the hot that it is now, But this color isn't really working for me, so I'll change it to something a bit more subtle, a bit more similar to the actual color. So the scratches might only show up more when light passes it. That's nice. Okay, so we just do the same for the other layers. So just copy that and paste it in there. The metal ways underneath the debt. So we've got some scratches going on there to you now and on the pommel and the with names on the end. Sorry, I have this hot K that brings up my Oh, it's old shift. Have toe figure out how to disable that. Okay, Sanada, that's there. We can get into how to make the cool designs that were on the reference A something similar to these little crazy curves and all that stuff. So I'll just open up photo shop and I'll show you how I would call about that. So we could do is add an image like this in and then just like trace the like, the design and then just in white and then have a black background. And that'll work the same as, like, now one of those grunge maps. But you can use it as a brush to stamp on detail. Or alternatively, you can grab a black. And what Alfa Mosque? Um, just online. So I just look up like, ah, I don't know, dwarf and pattern black and white or dwarf an Alfa pattern. You just have to make sure that you have the rights to be able to use that one if you are working commercially. But it was just for yourself. Just grab whatever you want. So once you have an image, I'll show you how to import it. - Okay , so I've just gone ahead and trace this little design. Um, I haven't spent much time, and it sells pretty. That's pretty rough, but I would encourage you to spend quite a bit of time doing whatever design you want to do , because it can really add that, like next level detail until asset like a lot of character, a lot of storytelling, So just save this offers an image, and then I will show you how to utilize that in substance painter. OK, so wherever you saved it, just go into your file explorer and then just drag it, um, down into this section and then press on undefined and do Alfa. Mm, no do texture. And then, um, just which have a project to you. What have you saved it as? And then import. And now, in the project here we have a mask. So toe, use this for this how we're going to go into the sword layer because that's what we wanted to be on. And then you add a new layer underneath the dirt. He lay a actually copy this layer. Um, it will copy the the base one. So underneath the scratches, too, I think. And then we'll make it a bit darker, It less saturated and will make the height this lower. So it's pressing into the the sword, and then we'll, ah, at a black mask again. And now, instead of ah, this polygon Phil, we're going to go into the brush to paint and we'll right click and at a paint a layer. So in this paint layer, we have an option for an Alfa here. So it is going to drag our custom Moss that we actually did need to save is an Alfa. So I'll just dragged it in again. Choose out for this time them import that. And now we could use that. Okay, so now we're using this as our paintbrush. So if we go into have you here, we can go off a graphic view. Oates left click and then hold shift. And now we're directly on the front. We can just scale it down until it fits nicely. And if we just left click. But now I've got house suite design on there, and we'll put it on the back as well. So you can imagine if you spend a lot of time doing your design that can really create some great detail for you. Nice. That's looking pretty cool. So I'm just going Teoh lo the intensity of this a bit with the hot. So it's just getting in there, and then I think we might add a bit more roughness and will change the color. Try going back to the base color that's looking pretty nice like nice and subtle. Since I didn't spend too much time on, I don't want it to stand out the crazy and that it's pretty cool. That's I think I'll lower the dirt on this one, too. Here and maybe the roughness down. We're up. Yeah. Okay. So now I'm just tweaking a few of these things here. Nice. Okay, so I'm liking the look of this, um, and we're basically ready to present now. Okay, So now with our model finished, we just need to export the textures. And then all that's left to do after that is presenting it. So is to export the textures. Just press control, shift E. And it will bring up a dialog books like this. And then here you can, ah, select where you want to save your textures. And here is the file type. Now, for video games. Usually want to pick Ah, Targo or T G ays. Um, something relaxes PNG's, but I think tigers are the most space efficient ones. And then further configuration, You want to pick PBR metal rough, which is a standard workflow for Triple A titles. Um, click on that one. And then here you can see all the different ones. Little saves, it'll say, but based color the roughness, metallic normal height and in missive so it won't use the unmissable hired. Um, but we use the rest, and then he just save out the texture. Size two K is pretty standard as well. And then you just click on export. There you go. Finished. All right. So all this have to do now is presenting it, um, and will use a website called sketch fat to do that, um, so make you a model easily share will around with your friends or whatever you want to show it with. And you might be able to get some screenshots as well for your portfolio through that as well. Okay, so I'll see in the next one. Thanks for watching. 11. Presentation: Welcome to the lost lesson. We're going to present and model Ah, using this website called Sketch for And this is like a real time viewer, so it can sort of simulate what it looked like inside a video game. Okay, so first, you just want to make, like, a free camp. Um, you don't need a pro paid account or anything. He's need a free one, Teoh, actually, just upload your models. So first thing, much of major accounts click on this upload button up here. And then here you drag your FB x file. Just the one that we the same one we used in substance painter. So just grab that one. So just click and drag it into the window. Impressed? Continue. And now you can just name it, whatever you want. So execution nodes soared. Um, this is a sword used by and execution. Well, okay. So this you don't need to worry about here and here. I guess we call it. Ah, I guess it's cultural heritage and history is a nut. An old sword. We'll leave it at that. And we to school. It soared in the tags. Ah, game. Uh oh. Game out There we go. All right, so now we continue. And now it should spit out to sell boy income model here. So holding can, um, old and clicking changes the light orientation just left clicking in the view port. You can rotate around right clicking pans. You can ah, just sculptures him. Okay, so now we need to set up the materials on our model like eso. It looked like it did whilst it was in substance painter. So it is going to go into the three D settings on the side here, and then you can see it's on set to PBR and you remember we saved out textures as PBR metal rough. So but it's gonna click up here in the materials. And then wherever you save your materials, you can just click and drag them into the corresponding slot. So for the base colors, click and drag a base color into that. You can see now the colors are correct. Click and drag the metal nous into the metal nous. There you go. And then click and drag the ah after activate the normal. First, there it is been and just click and drag into that one and now we've cut out. Normal is happening. Yep. You can see our engraving suddenly come in and then the roughness. We're going to pop that into there, and we want to make sure we click on roughness here. Otherwise it'll be inverted. So roughness, roughness and golf glossy nous of the same thing it set the A map would be inverted for gutsiness. So that is all the textures. So if you are happy with how it looks just as the default, you can just go ahead and click on and save settings or click on publish and then that will go live on the Internet. And you can share it with your friends, um, even embedded in your art station portfolio if you have one. So if you want to add some post processing effects post processing X, you can do that, too. So, um, I find a vignette is always clintonized to frame your model. Just keep it a bit subtle. Alison Grain cannot make it look a bit less, um, just perfectly clean and nice. Um, depends on what kind of work he want. But since this is an old, archaic Saudi, I guess he want Teoh make it look a little bit more less perfect. Um, you can And reflections, too, But, I mean, there's nothing really to reflect. Ah, sharpness is also good. If you keep it nice and subtle, it can just bring out a few more of the details of your model make like our engraving pop a bit more so if we turn it off and on its really subtle. But it starts to be a bit more notice. But so also bloom blooms If you have too much bloom. It can look really tacky, I would say either, Don't added, It'll keep it super super sado. Bloom is really good for highlighting stuff like, uh, lights on a mech or, um, just like SciFi little glowing bits that I really pop out and look really, really cool, but something like this, we might need it as much. And then, of course, you've got your tone mapping and you call a balance, but we won't touch that. And of course, we want anti alias ing on so that we don't have, like, some harsh edges on our pixels. All right, now that that stone just go ahead, click on Publish Saving publish, and then it'll load. There you go. You can share your model. We'll show you what this looks like in the browser so that you could expect to see what it looks like. So there we go. No, your friends can go Have a look at the lovely work that you've created. Well, there it is, your finished model, ***. So I really hope you learned something from this lesson. Are creating a model from start to finish. The full game asset is quite difficult. And if you ended up finishing through the course through the class, then that's something to commend yourself on for sticking with it. It could get a bit frustrating sometimes. If you run into a problem that you just come figure out there's no trouble shooting. Um, So if you do run into something that you're stuck on, please, please contact me and I'll try my best to work that out for you because I know if you just get stuck on this road book, it can be quite hard. Teoh, find the motivation to keep pushing through. Um so I hope this peaks and interest in game are for you, and you want to carry on making your own assets may be making a few little scenes. You can see some people here have made their own, like entire scenes and stuff. Um, Justin sketch Faber's well, which is quite cool. So you're able to do this as well. You just need Teoh, um, make a few more assets, compile them into a nice little scene, and then boom. There you go. You've got a lovely little environment, which looks wonderful. All right, so that being said, hope you enjoyed yourself, and I'll see in the next class when I decide to make up. All right, So enjoy day. So you lady guys.